JAPANESE  COLOR  PRINTS 


THE  COLLECTION  OF 

FREDERICK  W.  HUNTER,  Esq. 

OF  NEW  YORK 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  AUCTION 

WEDNESDAY  EVENING,  MARCH  12,  1919 

AT  8:15  O'CLOCK 

ON  VIEW  FROM  MARCH  5.  1919,  9:30—5:30  P.  M. 

INCLUDING  SUNDAY,  MARCH  9,  10:30—4:30  P.  M. 


*4 


THE  WALPOLE  GALLERIES 

No.  10  East  Forty -Ninth  Street,  New  York 


No.  84.  IV/4  x  %y2 
Harunobu:  The  Flute  Players 


- n,>'""'r . . 


We  deeply  regret  to  announce  the  death  on 
February  18th,  while  the  catalogue  was  in 
course  of  preparation,  of  the  owner  of  the 
collection,  Mr.  Frederick  W.  Hunter. 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/japanesecolorpri00walp_16 


On  View  from  March  5 


No.  115 


Sale  March  12 


Japanese  Color  Prints 

The  Important  Collection  of 

Frederick  W.  Hunter,  Esq., 

of  New  York 


Including  as  well  all  of 

Mr.  Hunter’s  Japanese  Collections 

Japanese  Books,  Japanese  Ivories  which  have  been  Exhibited 
at  the  Metropolitan  Museum  and  English  Books 
on  Japan  with  his  Catalogues  and  Books 
of  Reference  on  Japanese  Prints. 


To  be  sold  at  unrestricted  public  auction 

Wednesday  Evening,  March  12,  1919 

at  8:15  o’clock 


On  View  from  March  5,  1919,  9:30 — 5:30  P.  M. 
Including  Sunday,  March  9,  10:30 — 4:30  P.  M. 


The  Walpole  Galleries 

No.  10  East  Forty-Ninth  Street,  New  York 

Telephone  Murray  Hill  6512 


CONDITIONS  OF  SALE 


1.  All  bids  to  be  per  lot.  They  are  executed  free  of  charge  by  the 
Walpole  Galleries  and  the  items  are  bought  at  the  lowest  price  permitted 
by  competitive  bids. 

2.  The  highest  bidder  to  be  the  buyer;  in  case  of  disputed  bids  the 
lot  shall  be  resold,  but  the  Auctioneer  will  use  his  judgment  as  to  the 
good  faith  of  all  claims  and  his  decision  shall  be  final.  He  may  also 
reject  any  fractional  or  nominal  bid  calculated  to  delay  or  injuriously 
affect  the  sale. 

3.  Buyers  to  give  their  names  and  addresses  and  to  make  such  cash 
payments  on  account  as  may  be  required  in  default  of  which  the  lots 
purchased  to  be  immediately  resold. 

4.  Goods  bought  to  be  removed  at  the  close  of  the  sale.  If  not  so 
removed,  they  will  be  held  at  the  risk  of  the  purchaser  and  these  Galleries 
will  not  be  responsible  if  such  goods  are  lost,  stolen,  damaged  or  de¬ 
stroyed.  No  deliveries  will  be  made  during  the  sale. 

5.  Terms  Cash.  If  accounts  are  not  paid  at  the  conclusion  of  the 
sale,  or,  in  the  case  of  absent  buyers,  when  bills  are  rendered,  these 
Galleries  reserve  the  right  to  dispose  of  the  goods  without  notice  to  the 
defaulting  buyer  and  all  costs  of  such  re-sale  will  be  charged  to  the 
defaulter.  This  condition  is  without  prejudice  to  the  rights  of  the 
Company  to  enforce  the  sale  contract  and  collect  the  amount  due  with¬ 
out  such  re-sale  at  its  own  option. 

6.  This  catalogue  has  been  compiled  by  competent  cataloguers;  the 
various  lots  offered  are  described  with  care  and  accuracy  and  they  will 
be  sold  not  subject  to  return. 

7.  The  Walpole  Galleries,  if  requested,  will  forward  purchases  at  the 
buyer’s'  risk  and  expense. 

Material  on  exhibition  seven  days  before  the  sale. 

Priced  copies  of  this  catalogue  at  $2.50  each. 

THE  WALPOLE  GALLERIES. 

Edward  Turnbull 
Lenore  Young  Turnbull 

No.  10  East  49th  Street,  New  York. 

This  sale  will  be  conducted  for  the  Walpole  Galleries  by 

MR.  DANIEL  R.  KENNEDY. 

Telephone,  Murray  Hill  6512. 


THE  GETTY  RESEARCH 
INSTITUTE  LIBRARY 


FOREWORD 


Mr.  Frederick  W.  Hunter,  the  authority  on  early  American  Glass  and 
eminent  collector  of  Chinese  Porcelain  was  also  one  of  the  pioneer  lovers 
of  Japanese  Prints.  His  collection  is  now  to  be  dispersed. 

The  collection  consists  of  one  hundred  and  fifty  prints  in  rare  examples 
solely,  with  all  the  important  prints  in  fine  state  of  preservation,  embrac¬ 
ing  the  work  of  the  great  print  designers  from  Kiyomasu  to  Hokusai. 
Most  wonderful  are  the  eleven  Sharaku  prints  from  hosoye  to  large  glim¬ 
mering  oban  and  the  fifteen  beautiful  Harunobus  among  which  is  the 
world-famous  “Flute  Players,”  in  a  state  of  flawless  perfection.  The 
marvel  of  the  collection  is  the  hosoye  triptych,  a  collaboration  of  Harunobu, 
Kiyotsune  and  Kiyomitsu — a  set  of  historical  importance  which  is  a  great 
treasure. 

The  owner  of  the  collection  has  discriminating  taste  as  a  judge  of 
Chinese  Porcelain  and  each  print  of  his  collection  has  intrinsic  value  en¬ 
hanced  by  unquestionable  genuineness  and  quality.  The  “Wave”  of 
Hokusai  in  this  collection  is  perhaps  the  earliest  and  best  preserved  ex¬ 
ample  extant.  Since  the  Fenollosa-Ketcham  exhibition  of  Ukiyoye 
paintings  and  prints  in  1896,  no  such  important  collection  has  been  sub¬ 
mitted  to  the  public. 

The  admiration  for  Japanese  Ukiyoye  prints  in  Europe  and  America 
awakened  the  impulse  of  native  art  among  the  Japanese  themselves,  who 
are  now  paying  formidable  prices  when  the  resources  of  this  long  unap¬ 
preciated  art  among-  them  are  nearly  exhausted.  It  is  impossible  to  expect 
now-a-days  that  prints  of  great  merit  can  come  from  Japan. 

It  is  a  rare  privilege  as  well  as  inspiration  to  catalogue  these  prints 
which  are  recognized  as  art  treasures  of  the  world. 


PjUNKio  Matsuki. 


Ten  years  ago,  after  Mr.  Niewa  had  returned  from  Japan,  unable  to 
purchase  any  more  prints  of  artistic  merit  or  interest,  Mr.  Frederick  W. 
Hunter  placed  in  a  safe  one  hundred  and  fifty  Japanese  Color  Prints, 
satisfied  that  with  that  number,  which  are  described  in  the  following 
pages,  he  best  had  succeeded  both  from  an  Oriental  and  European  point 
of  view  in  getting  together  a  collection,  which  would  represent,  in  his 
opinion,  the  great  masters  of  Japanese  Wood-Block  printing,  and  at  the 
same  time  would  show  the  modern  art-world  prints  that  would  be  an 
inspiration. 

For  the  last  ten  years  prints  of  artistic  merit  in  fine  condition  have 
been  so  difficult  to  secure  that  Mr.  Hunter  decided  to  discontinue  adding 
to  his  collection ;  he  was  also  devoting  his  spare  time  to  his  Chinese  Porce¬ 
lains  and  Snuff  Bottles  and  to  his  study  of  Colonial  Furniture  and  Pre- 
Revolutionary  American  Glass.  His  collection  of  Stiegel  glass  he  pre¬ 
sented  to  the  Metropolitan  Museum  of  Art  and  his  book  on  the  subject 
is  an  authority. 

Mr.  Hunter’s  persistence  in  securing  the  impossible  enables  us  to  make 
the  statement  that  of  the  less  than  fifty  known  examples  of  the  work  of 
Sharaku,  no  less  than  eleven  are  described  here,  seven  of  which  are  on 
silver  ground.  The  unknown  and  remarkable  prints  made  prior  to  1764 
by  Harunobu,  Kiyomitsu  and  Shigemasa  showing  the  first  appearance  of 
Impressionism  had  their  unmistakable  influence  on  European  art.  For 
these  Japan  was  searched  and  all  possible  specimens  secured.  An  un¬ 
known  hosoye  triptych  in  flawless  condition  representing  the  collaboration 
of  Harunobu,  Kiyotsune  and  Kiyomitsu,  in  three  beautiful  women  as  the 
Hawthorn,  Wistaria  and  Cherry  Blossom  symbolizes  the  cities  of  Osaka, 
Yedo  and  Kyoto.  Hokusai’s  Lotus  Pond,  never  before  sold  in  this 
country  in  this  coloring;  a  probably  unique  print  of  Hokusai’s  “Fuji  in 
Snow”  mentioned  as  having  been  seen  by  Professor  Fenollosa ;  and 
Hokusai’s  “Wave”  in  an  unknown  state  with  the  boats  in  red  and  an 
additional  block  in  the  sky  indicating  the  heavy  clouds  of  the  storm.  A 
very  scarce  and  fine  lot  of  fifteen  prints  in  blue,  made  to  rival  the  blue 
and  white  porcelains  of  the  famous  K’ang-hsi  era ;  a  small  but  exception¬ 
ally  choice  group  of  Ivory  Carvings  which  have  been  exhibited  at  the 
Metropolitan  Museum  of  Art,  and  preceding  these  Mr.  Hunter’s  books 
relating  to  Japanese  Prints,  including  the  books  of  Professor  Fenollosa, 
Strange,  Bing  (both  the  German  and  English  editions),  etc. 

Mr.  Matsuki’s  discoveries  in  regard  to  Sharaku’s  notation  on  three  of 
his  prints  Nos.  204,  205,  206,  and  his  proof  of  the  collaboration  of  the 
Torii  Masters  and  Harunobu  in  making  the  remarkable  series  of  “Im¬ 
pressionistic”  Prints  Nos.  98-105  will  be  appreciated  by  all  lovers  and 
students  of  Ukiyoye. 

In  the  gathering-  of  these  150  prints,  the  famous  Wakai  and  Hayashi 
collections  yielded  their  toll  and  rare  prints  were  secured  from  the  late 
John  La  Farge  before  the  latter  made  his  public  sales.  Mr.  Niewa  scoured 
Japan  for  Mr.  Hunter  and  Mr.  Clarence  Buckingham.  From  Mr. 
Yamanaka  of  New  York,  and  Mr.  B.  Matsuki  of  Boston,  he  secured  some 
of  the  choicest  Harunobu  and  Hokusai  prints  in  flawless  condition  which 
will  startle  the  expert — truly,  the  world  of  the  collector  is  full  of  surprises. 


The  Walpole  Galleries. 


INDEX 


No. 

BLUE  PRINTS  . 184-199 

BOOKS  (ENGLISH,  FRENCH,  ETC.) .  1-41 

BUNCHO:  1745-1796  .  57-  58 

CHOKI:  1785-1805  .  59 

HARUNOBU:  1705-1772  .  83-  97 

HARUNOBU,  KIYOMITSU,  SHIGEMASA :  Important  Dis¬ 
covery  .  98-105 

HARUNOBU,  KIYOMITSU,  KIYOTSUNE :  Hosoye  Trip¬ 
tych  in  collaboration  .  83 

JAPANESE  IVORY  CARVINGS .  42-  56 

HOKUSAI :  1760-1849  .  60-  80 

HOKUSAI:  Prints  from  “36  VIEWS  OF  FUJI” .  64-  72 

HOKUSAI:  Prints  from  “NOTED  BRIDGES” .  74-  76 

HOKUSAI:  Prints  from  the  “100  POEMS” .  60-  63 

HOKUSAI:  Book:  “100  VIEWS  OF  FUJI” .  81 

KIYOHIRO :  1750-1758  . 106-107 

KIYOMASU :  1685-1764  . 108-109 

KIYOMITSU :  1735-1785 . 1 10-112 

KIYONAGA:  1742-1814 . 113-118 

ICOKWAN  (SHIBA):  1747-1818  .  119 

KORIUSAI :  1725-1788 . 120-123 

KUNINOBU:  1664-1780  .  124 

MASANOBU-KIODEN  :  1761-1818  . 125-126 

NAGAHIDE:  1704-1760  .  127 

SEKIHO :  1790-1810  .  128 

SHARAKU:  1760-1799  . 200-210 

SHIGEMASA:  1739-1819 . 130-133 

SHIGEMASA  AND  SHLTNSHO:  Book,  “Beauties  of  the  Green 

Houses”  .  129 

SHIGENAGA :  1697-1756  .  134 

SHUNKO:  1760-1827  . 135-138 

SHUNSHO :  1726-1792 . 139-141 

SHUNYEI :  1767-1819 .  143 


TOSHINOBU:  1709-1743 .  142 

TOYOKUNI :  1769-1825  . . . 144-148 

TOYOMASA:  1765  (worked)  .  149 

TOYONOBU:  1711-1785  .  150 

UTAMARO  :  1753-1806 . 151-171 

YEIRI :  1760-1810  .  172 

YEISHI :  1760-1829 . 173-180 

YEISHO  :  1790-1805 . 181-182 

YEISUI :  1795-1900  (worked) .  183 

ZENPUKUSAI:  Nineteenth  Century:  Book  .  82 


CATALOGUE 

The  F.  W.  Hunter  Japanese  Collections 


English  Books  on  Japan,  Works  of  Reference  by 
Fenollosa,  Strange,  Sale  Catalogues,  Etc. 


1  JAPAN  UND  OSTASIEN  IN  DER  KUNST.  Illustrated.  Fore¬ 

word  by  Prof.  T.  Uno.  Narrow  8vo,  wrappers,  inscribed  to  Mr.  ^ 

Hunter  on  the  title.  Munchen,  1909.  ^ 

(sy 

2  JAPANISCHE  V OGELSTUDIEN.  12  Blatter,  K.  K.  Oster  Han-  w 

dels  Museum.  Wien,  1895.  12  plates  of  drawings  of  birds  in 

monochrome  and  color  on  Japan  paper.  Folio,  laid  in  portfolio.  ^ 
Vienna,  1895.  ^ 

3  BACON  (ALICE  M.).  Japanese  Girls  and  Women.  Sm.  8vo.  C 

Best.,  1891.  ' 


/  0  , 
^  / 


4  BIGOT  (G.).  Croquis  Japonais,  1886.  2p  etchings  from  life. 
Folio,  Japan  paper  issue.  Tok'io,  1886. 


\ 


// 


5 


AUDSLEY  (G.  A.)  AND  BOWES  (J.  L.).  Keramic  Art  of  Japan. 
Marks  and  monograms,  and  plates,  some  in  colors  and  heightened 
with  gold.  Thick  tall  8vo.  Bond.,  1881. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


10 


BOOKS  ON  JAPANESE  ART 


AUDSLEY  (G.  A.)  AND  BOWES  (J.  L.).  Keramic  Art  of  Japan. 
Illustrated.  2  vols.,  folio,  half  crimson  morocco,  gilt  tops,  by 
Alfred  Matthews.  Liverpool,  1885. 

^Edition  for  subscribers  only  and  superbly  produced  with  the  plates 
in  colors  and  heightened  with  gold,  many  in  the  size  of  the  originals, 
showing  the  finest  workmanship  in  porcelain,  earthenware,  etc.,  of 
Japan,  with  tables  of  marks  in  actual  sizes,  and  other  valuable  infor¬ 
mation  for  this  study. 


7  BOWES  (JAS.  L.).  Japanese  Marks  and  Seals:  Part  I:  Pottery. 
Part  II :  Mss.  and  Printed  Books ;  Part  III :  Lacquer,  Enamels, 
Metal,  Wood,  Ivory,  etc.  Fully  illustrated.  Thick  tall  8vo,  gilt 
top.  Lond.,  1882. 

*With  presentation  inscription  from  the  author. 


BOWES  (JAS.  L.).  A  Vindication  of  the  Decorated  Pottery  of 
Japan.  Plates  in  color.  Tall  sq.  8vo,  boards.  N.  p.  (Liverpool). 
Printed  for  private  circulation,  1891. 

^Printed  in  answer  to  an  attack  by  Prof.  Morse. 


9  BOWES  (JAS.  L.).  Notes  on  Shippo:  a  Sequel  to  Japanese  Enam¬ 
els.  Illustrated.  Roy.  8vo,  cloth  back.  Lond.,  1895. 


10  BING  (S.).  Artistic  Japan:  A  monthly  illustrated  Journal  of  Arts 
and  Industries.  English  edition  by  M.  B.  Huish.  Sm.  folio. 


Lond.,  n.  d. 

^Superbly  produced  with  more  than  80  plates  in  the  colors  of  the 
originals  from  prints,  paintings,  porcelain,  lacquer,  enamels,  etc.,  and 
numerous  text  illustrations.  W m.  Anderson,  Ph.  Burty,  L.  Gonse, 
Duret,  De  Goncourt,  and  other  connoisseurs  contributed  the  text. 
Long  out  of  print  and  very  scarce. 


11 


BING  (S.).  Japanischer  Formenschatz.  Enter  Mitarbeiterschaft 
den  Herren  Ph.  Burty,  E.  de  Goncourt,  L.  Gonse,  T.  Hayashi, 
Ary  Renan,  Wm.  Anderson,  etc.  6  vols.,  in  the  original  36 
parts.  Leipzig  (about  1888). 

*360  full  page  plates  in  tint  and  color  of  prints,  bronzes,  paintings, 
tapestry,  and  other  arts  of  Japan;  in  addition  there  are  36  extra  plates 
of  prints  and  drawings  on  the  covers  all  in  colors.  Descriptive  text 
accompanies  each  of  the  plates.  There  are  articles  on  Woodcarving 
by  T.  Duret,  on  Prints  by  Wm.  Anderson,  Ritsuo  by  E.  Hart,  Hokusai’s 
Mangwa  by  Renan,  Hiroshige  by  Wm.  Anderson,  all  illustrated  in  the 
text.  The  complete  original  German  edition.  Very  scarce. 


12 


COLLI  NOT  (E.)  ET  DE  BEAUMONT  (A.).  Ornements  du 
Japon,  recueil  de  Dessins  pour  l’Art  et  lTndustrie.  40  plates 
containing  about  6o  examples,  mainly  of  birds  and  flowers 
printed  in  blue,  colors,  etc.  Large  folio,  half  mor.  rubbed.  Paris, 
1883. 

*A  limited  edition  handsomely  produced. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  IV.  HUNTER  COLLECTION 


11 


% 


13 


COLLI  NOT  (E.)  ET  DE  BEAUMONT  (A.).  Ornements  de  la 
Chine.  Similar  work,  with  the  40  plates  relating  to  China,  in 
colors  and  some  heightened  with  gold.  Large  folio,  half  mo¬ 
rocco,  rubbed.  Paris,  1883. 

*Also  limited  edition  and  a  superb  production. 


14  FENOLLOSA  (E.  F.).  The  Masters  of  Ukiyoye.  A  complete  His¬ 
torical  Description  of  Japanese  Paintings  and  Colour  Prints  of 
the  Genre  School.  Preface  by  F.  W.  Gookin.  Tall  8vo,  boards. 
N.  Y.,  1896. 

*Fine  copy  of  this  excessively  rare  and  valuable  work  of  the  late 
E.  F.  Fenollosa. 


15 


16 


FENOLLOSA  (E.  F.).  Catalogue  of  the  Exhibition  of  Ukiyoye 
Paintings  and  Prints  at  the  Yamanaka  Galleries  (written  by 
Mr.  Fenollosa).  12mo,  wrappers.  N.  Y.,  1908. 

^Interesting  copy,  with  the  prices  quoted  by  Yamanaka  for  these 
rare  prints  penciled  against  many  of  them. 

FENOLLOSA  CATALOGUE.  Another  copy,  boards. 


17  FENOLLOSA  CATALOGUE.  Another  copy,  boards. 


18  FENOLLOSA  (E.  F.).  Epochs  of  Chinese  and  Japanese  Art.  Fully 
illustrated  from  the  rarest  originals  of  prints,  paintings,  carvings 
and  other  artistic  mediums.  2  vols.,  sq.  tall  8vo,  half  boards  and 
cloth,  uncut.  Lond.,  1912. 

*Fine  copy  of  this  valuable  work ;  Mr.  Fenollosa  is  an  accepted 
authority  on  Japanese  Art. 


19 


20 


GOOKIN  (F.  W.).  Catalogue  of  a  Loan  Exhibition  at  the  Art  In¬ 
stitute  of  Chicago  of  Japanese  Color  Prints ;  with  notes  explana¬ 
tory  and  descriptive  and  essay  by  F.  W.  Gookin.  Illustrated. 
Sq.  8vo,  wrappers,  pp.  132.  Chicago,  1908. 

*The  fine  collection  of  Mr.  Clarence  Buckingham,  compiled  by  an 
expert,  difficult  to  secure  and  very  valuable  for  reference. 


GOOKIN  (F.  W.).  Buckingham  Memorial  Exhibition.  Japanese 
Color  Prints  from  the  Clarence  Buckingham  Collection.  With 
notes,  etc.,  by  F.  W.  Gookin.  Illustrated.  8vo,  wrappers,  pp.  133. 
Chicago:  Art  Institute,  1915. 


21 


HIROSHIGE.  The  Heritage  of  Hiroshige.  By  Dora  Amsden  and 
J.  S.  Happer.  Illustrated  with  prints  from  the  Hap  per  Collection. 
8vo,  bound  in  Japanese  fashion.  San  Francisco,  1912. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


12 


BOOKS  OX  JAPANESE  ART 


23 


24 


J23"  . 

\  k 


25 


26 


HOKUSAI.  L’Art  Japonais,  Les  Livres  lllustres,  Les  Albums 
Imprimes.  Iiokousai.  Par  Theodore  Duret.  Illustrated.  Roy. 
8vo,  wrappers.  Paris,  1882. 

^Scarce  monograph  by  a  noted  French  critic  and  collector. 

JACQUEMART  (ALBERT).  Histoire  de  la  Ceramique,  etude 
descriptive  et  raisonnee  des  Poteries.  200  woodcuts  and  12  etch¬ 
ings  by  Jacquemart,  and  1000  marks  and  monograms.  Thick 
tall  8vo,  half  crushed  brown  levant  morocco.  Paris,  1875. 

*Handsome  copy  of  this  fine  work,  with  the  original  Jacquemart 
etchings  in  unmarred  condition. 

JAPAN.  The  Connoisseur  Collection  of  the  Arts  of  Japan,  Drawing, 
Painting,  Engraving,  Printing.  Maeda  Special  Edition.  4  vols., 
folio.  N.  Y.,  n.  d. 

*Copy  E.  limited  to  26  lettered  copies,  superbly  produced  in  the  full 
page  plates  showing  colors  of  the  originals  of  primitives  in  prints  and 
paintings,  etc.  The  volumes  in  a  handsome  binding  of  dark  blue  mo¬ 
rocco  tooled  in  gold  with  the  Kiku  crest  and  stork,  gilt  border  tooling 
and  corner  ornaments ;  wide  inside  band  of  tooled  morocco  in  a  key 
pattern,  watered  silk  end-papers  and  linings,  and  polished  gilt  edges. 
The  author  is  not  given,  but  the  excellent  color  plates  are  made  under 
the  direction  of  G.  A.  Audsley  and  the  subscription  price  was  $1,000. 

OSBORN  (CAPT.  SHERARD).  Japanese  Fragments.  Many  illus¬ 
trations  mainly  from  prints,  including  six  colored  plates.  Sm. 
8vo,  gilt  edges.  Loud.,  1861. 

*Very  scarce. 

REIN  (J.  J.).  The  Industries  of  Japan,  with  its  Agriculture,  For¬ 
estry,  Arts  and  Commerce.  44  illustrations  and  3  maps ,  the 
frontispiece,  etc.,  in  lacquer  colors.  Thick  tall  8vo,  cloth.  N.  Y., 
1889. 

REGAMEY  (FELIX).  Japan  in  Art  and  Industry,  with  a  Glance  at 
Japanese  Manners  and  Customs.  Authorized  translation  by 
French-Sheldon.  100  illustrations.  8vo.  N.  Y.,  1893. 

SLADEN  (DOUGLAS).  Queer  Things  about  Japan.  7  colored 
plates  and  30  Hokusai  examples  never  before  reproduced  in  Eng¬ 
land.  Thick  8vo,  gilt  top.  Lond.,  1904. 

SLADEN  (DOUGLAS).  More  Queer  Things  about  Japan.  First 
edition.  With  the  ‘‘Letters  of  Will  Adams.”  Written  from 
Japan,  1611-1617,  and  Japanese  Life  of  Napoleon.  Plates  in 
colors  including  ten  plates  by  Hokusai.  Thick  8vo,  gilt  top, 
uncut.  Lond.,  1904. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


13 


30 


31 


STRANGE  (E.  F.).  The  Color  Prints  of  Japan,  an  Appreciation 
and  History.  Numerous  illustrations ,  some  in  color.  12mo,  limp 
leather.  Lond.,  1904. 


STRANGE  (E.  F.).  Japanese  Color  Prints.  84  plates  and  8  pp.  of 

artists’  signatures.  8vo,  wrappers.  Lond.,  1904. 

*The  hand  book  of  the  South  Kensington  Museum.  With  additional 
facts  not  in  the  bound  volume. 


32 


STRANGE  (E.  F.).  Japanese  Illustration;  a  History  of  the  Arts  of 
Wood  Cutting'  and  Color  Printing-  in  Japan.  Profusely  illus¬ 
trated,  including  8  plates  in  color.  8vo.  Lond.,  1904. 

*Second  edition  revised  and  enlarged. 


SALE  CATALOGUES. 

33  BLANCHARD  PRINT  SALE.  Japanese  Color  Prints;  the  codec-  r~) 

tion  of  Mrs.  J.  O.  Blanchard.  Illustrated.  8vo,  wrappers.  N.  Y. 
American  Art  Galleries,  April,  1916. 

34  COLON NA  (E.)  COLLECTION.  Rare  Japanese  Prints.  Priced  | 

and  named.  8vo.  N.  Y.,  American  Art  Association,  1908. 


35  FIELD  (HAMILTON  E.)  COLLECTION,  1907.  Priced  and 
named,  and  6  other  catalogues,  including  the  Nomura  prints 
(Copley  Society)  and  Anderson  sale.  Illustrated.  7  pcs.  1907-8 
and  1915. 


36  HAYASHI  COLLECTION  CATALOGUE.  Objets  d’Art  du  Japon 
et  de  la  Chine,  peintures,  livres,  reunis  par  T.  Hayashi.  Fully 
illustrated.  Sm.  folio  wrappers,  pp.  310.  Paris,  1902. 


37  IKEDA  COLLECTION,  including  prints.  Illustrated.  Priced  and  >  *** 
named.  12mo,  wrappers.  N.  Y.,  5th  Ave.,  Auction  Rooms,  1908. 


38  LA  FARCE  COLLECTIONS.  1908.  Priced  and  partly  named 

(Amer.  Art  Assoc.)  ;  1909,  partly  priced  and  named  (Ander-  10 
son  s)  ;  Loan  Exhibition  catalogue,  Japan  Society,  introduction  by 
F.  W.  Gookin.  N.  Y.,  1911.  (3) 

39  MATSUKI  COLLECTIONS,  1907-1908.  The  Prints  in  each  cata-  *7 

logue  priced  and  named.  Illustrated.  8vo,  wrappers.  American 
Art  Association,  N.  Y.,  1907-8.  (2) 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


14  BOOKS  ON  JAPANESE  ART:  IVORY  CARVINGS 

SALE  CATALOGUES — Continued.  ) 

40  TAKAYANAGI  COLLECTION,  Fifth  Ave.  Auction  rooms,  priced, 
and  3  others  of  the  same  including  the  Yoshiy  Japanese  Prints. 
All  priced  and  partly  named.  N.  Y.,  1906-8.  (4  pcs.) 

VON  HEYMEL  COLLECTION.  Japanese  Color  Prints.  Illus¬ 
trated.  Priced  and  named.  Sq.  8vo  wrappers.  Lond.,  Sotheby 
1910. 

IVORY  CARVINGS 

An  exceptionally  choice  group  of  Ivories  which  have  been  exhibited 
as  a  Loan  Collection  at  the  Metropolitan  Museum  of  Art,  from  1885 
to  1897,  the  majority  of  them  bearing  the  Exhibition  label 

WOODCUTTER  AND  HIS  FAMILY.  Height  3j4  inches.  Finely 

carved.  Signature  :  Shokyosai.  Seal :  Homin.  Date  about  1870. 

FISHERWOMAN  AND  OCTOPUS.  Finely  carved.  Height  4 
inches.  Date  about  1845. 

HOTEI  AND  A  CHILD.  Height  inches.  Hotei  resting  on  his 
Bag  of  Plenty,  with  a  child  on  his  back.  Date  about  1850. 

45  MONKEY  HOLDING  A  HORSE.  Height  2^  inches.  Signature: 
2.  0  Ichiyusai.  Date  about  1850. 


41 


\<o 


42 


43 


2^^ 


44 


46  SHOKI  AND  HIS  ORCHESTRA.  Height  2 J4  inches.  Date  about 
y  1875. 


47 


SEIWOBO,  SAINT  OF  LONGEVITY.  Height  4  inches.  Attended 
by  Karako  Boy  holding  up  a  basket  of  peaches.  Signature: 
Tounsai.  Date  about  1840. 

*An  ivory  carving  of  early  and  fine  execution. 


48  THE  MUSHROOM  HUNTERS.  Height  3j4  inches.  Early  and  fine 
specimen.  Date  about  1840. 


49  EBISU  AND  DAIKOKU  WITH  TAI  FISH.  Height  3  inches. 

One  of  the  earliest  works  in  ivory.  The  quality  of  the  ivory  and 
the  workmanship  both  very  fine.  Date  about  1840. 


50  KWANNON,  GODDESS  OF  MERCY.  Height  6y2  inches.  Stand¬ 
ing  on  the  back  of  a  swimming  carp.  Signature:  Keisai.  Date 
2J.06  about  1850. 


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15 


IVORY  CARVINGS — Continued. 

51  THE  BOY  RINTOKI  WITH  HIS  MOTHER  AND  PETS. 

Height  6  inches.  His  playmates  the  monkey  and  bear  with  his 
mother  make  a  pleasing  group.  Signature :  Kogetsu.  Date  about 
1870. 

52  COURTESAN  UNFRIGHTENED  BY  AN  EVIL  SPIRIT. 

Height  5j4  inches.  Signature:  Tomoyuki.  Date  about  1865. 

53  GEISHA  IN  A  LOOSE  KIMONO.  Which  she  holds  together  with 

her  right  hand.  Height  12  inches.  The  whole  composition  is 
one  of  consummate  grace.  The  ornaments  of  the  headdress,  the 
details  of  costume,  and  the  free  folds  of  the  draperies  are  exam¬ 
ples  of  the  most  delicate  achievements  of  Japan’s  unsurpassed 
carver,  Meido  Kizamu.  Signature:  Meido  Kizamu. 

54  GRANDFATHER  WITH  BURDEN  OF  TWO  FIGHTING 

CHILDREN.  Height  10  inches.  The  expressions  of  the  amiable 
elderly  man,  and  of  the  crying  and  laughing  little  boys  he  bears 
on  his  shoulders  are  wonderfully  executed.  Fine  modelling,  par¬ 
ticularly  the  characteristic  Japanese  feet  of  the  children.  Great 
example  of  grace  and  skill.  By  the  famous  artist  Wasui.  Signa¬ 
ture:  Wasui. 

55  FARMER  WITH  BOY  ADMIRING  A  BIRD.  Height  13  inches. 

A  farmer  showing  compassion  for  a  helpless  bird  while  an  eager 
child  tries  to  gain  possession  of  the  frightened  creature.  Great 
example  of  grace  and  skill.  By  the  famous  Jubun.  Signature 
Jubun. 

56  PEDDLER  OF  BAMBOO  SHOOTS.  Height  11  inches. 

He  wears  a  coat  of  goat  skin,  with  an  armful  of  bamboo  shoots, 
leaning  on  his  axe,  tobacco  pouch  and  mountain  dagger  at  his 
belt.  Very  fine  carving,  beautifully  wrought  of  the  best  ivory. 
By  the  celebrated  Hozan.  Signature :  Hozan. 


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F.  W.  HUNTER  COLLECTION 


17 


JAPANESE  COLOR  PRINTS 


IPPITSUSAI  BUNCHO.  1745-1796 

An  associate  artist  of  Shunsho  and  a  master  of  line  modelling  and 
color  composition,  noted  for  the  characteristic  expression  of  his 
faces.  Prints  by  him  are  very  rare. 

57  ACTOR  ONOYE  AS  YURANOSUKE. 

Wearing  a  robe  of  opaque  gray  stripes  with  light  aubergine 
Haori  or  summer  coat,  with  the  collar  and  lining  in  rose  pink. 
He  stands  at  a  well  under  a  Pine  Tree  near  a  barred  window  in 
which  hangs  a  cage  of  Singing  Insects,  all  printed  in  an  ex¬ 
quisite  light  “tan”  which  no  other  artist  has  ever  approached. 
Signature:  Ippitsusai  Buncho  ga.  Seal:  Mori  uji. 


I  o > 


*Hosoye  in  flawless  condition,  and  in  perfect  tonal  harmony. 


No.  57.  12  x 


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18 


JAPANESE  COLOR  PRINTS 


BUNG  HO — Continued. 


No.  58.  12^x5 Vs 


O'" 


58  ACTOR  ICHIKAWA  YAOZO  IN  THE  ROLE  OF  THE  SA¬ 
MURAI  GUNSUKE. 

One  of  the  most  famous  of  Buncho’s  actor  series  as  the  portrait  of 
Yaozo  is  considered  his  best  work  in  hosoye  form.  He  wears  a 
Jiban  or  short  undercoat  of  rose  color  flowered  with  Iris  in  pale 
green ;  his  aubergine  robe  thrown  off  at  the  waist.  He  stands 
near  a  barred  window  at  a  staircase,  the  woodwork  of  that  and 
his  hat  in  ochre  orange. 

Signature  :  Ippitsusai  Buncho  ga.  Seal :  Mori  uji. 


*Hosoye  in  perfect  condition. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


19 


YEISHOSAI  CHOIvI :  1785-1805. 

Pupil  of  Sekiyen;  Contemporary  of  Utamaro,  sometimes  known  as 
Shiko,  an  excellent  and  very  rare  artist. 

59  HACHIDAMME  (8th  Scene).  Series  Chushingura  or  “47 
RoninsA 

Tonase  and  Konami  passing  a  Rice  Field  while  travelling.  The 
actors  Kikunojio  and  Yonesaburo  take  the  parts  of  these  ladies. 
The  prevailing  tone  is  pink  and  light  brown  on  a  yellow  and 
olive  green  ground. 

Signature:  Choki.  Publisher:  Tsuruya, 

*An  excessively  rare  print  in  flawless  condition. 


No.  59.  10% 


The  Walpole  Galleries.  10  East  49th  Street.  New  York 


20  JAPANESE  COLOR  PRINTS 

KATSUSHIKA  HOKUSAI:  1760-1849. 

The  man  who  claimed  he  would  be  a  perfect  painter  if  Heaven 
would  give  him  longevity  of  one  hundred  years,  and  who  used  the 
seal  “Century”  for  a  few  years  before  he  died  at  the  age  of  89,  is 
known  world  wide  as  Hokusai. 

It  is  said  that  an  insult  he  received  from  his  early  teacher 
Shunsho  aroused  a  reactionary  spirit  in  him  and  he  labored  madly 
to  attain  the  rank  of  a  great  painter.  He  sought  no  more  instruc¬ 
tion  from  men  but  to  rival  nature  by  using  the  gift  of  his  imagina¬ 
tion  he  made  his  aim.  His  landscapes  are  considered  by  the  Western 
World  to  be  his  greatest  works.  As  a  print  designer,  he  has  im¬ 
mortalized  Fuji,  the  Sacred  Mountain  of  his  country,  in  his 
“Thirty-Six  Views.” 

60  THE  LOTUS  POND. 

“Funya  no  Asayusu.”  Five  Court  Pages  in  a  boat  are  gathering 
Lotus  leaves,  with  Hokusai's  attempt  to  portray  the  poetical  ex¬ 
pression  of  the  poet  Asayusu  in  the  splashing  of  showers  of  water 
upon  the  Lotus  Leaves  which  rebound  and  fall  as  myriads  of 
dew-drops.  The  rarest  print  of  the  series  “Hyakunin  Isshu 
Ubaga  Yetoki,”  or  “Pictorial  Definition  of  One  Hundred  Odes 
by  the  Nurse.” 

Signature:  Zen  Hokusai  Manji. 

A  SUPERB  EXAMPLE  OF  THE  RAREST  PRINT  OF  THIS  SERIES,  Unrivaled 

in  the  deep  blue  of  the  water  and  the  verdure  green  of  the  banks.  The 
subdued  rose-color,  chocolate  and  blue  of  the  dresses  of  the  boys 
usually  occur  in  much  brighter  colors,  particularly  the  reds,  thereby 
destroying  the  artistic  effect  as  sought  and  found  by  Hokusai  in  this 
impression  of  the  print.  The  best  print  from  the  “100  Poems.” 


No.  60.  IS  x  10 

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F.  W.  HUNTER  COLLECTION 


21 


HOKUSAI:  "SERIES  OF  100  POEMS”— Continued. 


No.  61.  10  l/A  x  15 


No.  62.  10J4  x  15 


61  POEM  BY  KIYOWARA  NO  FUKAYABU. 

The  prow  of  a  great  yellow  Pleasure  Boat  lit  by  an  arched  row  of  ^7 
lanterns  sails  into  view,  majestically  dividing  smaller  boats,  in  the 
grey  and  soft  blue  of  a  summer  dawn. 

Signature:  Zen  Hokusai  Manji.  Publisher:  Eijudo.  Seal: 
Approval. 

*In  perfect  state  of  preservation,  with  all  the  original  color  values 
preserved. 


62  POEM  BY  ONO  NO  KOMACHE 

A  group  of  villagers  engaging  in  their  daily  work ;  though  Cherry 

Flowers  are  in  full  blossom  above  their  heads,  life  is  too  earnest 

to  admire  the  sweetness  of  the  flowers. 

Signature :  Zen  Hokusai.  Publisher :  Eijudo.  Seal:  Approval. 

*All  colors  as  in  the  earliest  printed  state,  with  the  Cherry 
Blossoms  in  gauffrage. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


22 


j 


JAPANESE  COLOR  PRINTS 


HOKUSAI:  “100  POEMS’ —Continued. 


No.  63.  10x14 y2 


63  ABE  NO  NAKAMARO:  Series  “One  Hundred  Poems.” 

A  Japanese  Statesman  travelling-  in  China,  viewing  the  Moon’s 
reflection  and  longing  for  his  native  land.  A  night  scene  of 
strong  blue  and  black,  which  harmonizes  well  with  the  peculiar 
shade  of  turquoise  green  of  the  composition. 

Without  signature.  Publisher:  Eijudo.  Seal:  Approval. 

*A  flawless  example,  the  coloring  in  fresh  and  crisp  proof  state. 


t 


The  Wai.poi  f.  Galleries,  10  East  49th  Street,  New  York 


F.  W.  IILJX TER  COLLECTION  23 

HOKUSAI — Continued. 

HOKUSAI’S  “THIRTY-SIX  VIEWS  OF  FUJI.” 

“Fugaku  Sanju  Rokkei.”  Nine  Selected  Prints,  Which  Include 
the  Rarest  of  the  Series,  Some  in  Unknown  Artist’s  Proof  State. 

64  GREAT  WAVE  OF  KANAGAWA  INLET. 

The  Wave  rendered  in  the  strongest  deep  blue  shaded  with  the 
rare  Hawthorn  blue.  The  two  boats  almost  swallowed  in  the 
trough  of  this  great  engine  of  destruction  are  tinted  in  red  brown, 
and  in  the  sky  a  formidable  storm  cloud  is  modulated  with  dark 
aubergine. 

Signature:  Hokusai  Aratame  Tameka.su  Hitsu. 


*A  MAGNIFICIENT  AND  VERY  RARE  IMPRESSION  IN  FLAWLESS  CONDITION; 
the  earliest  and  finest  that  has  come  under  my  attention  in  a  long 
experience.  The  introduction  of  a  block  in  the  sky  showing  the 
approaching  storm  is  unknown  to  collectors  generally  as  is  the 
coloring  of  the  boats  in  red.  It  is  safe  to  say  that  no  such  print  was 
ever  offered  to  the  public  and  it  might  be  added  that  it  will  be  long 
before  another  such  impression  appears.  The  modulation  and  quality 
of  the  blue  are  astounding. 


No.  64.  10?ts  x  15J4 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


24 


JAPANESE  COLOR  PRINTS 


HOKUSAI:  36  VIEWS— Continued. 


No.  66.  10^4  x  15  No.  65.  10*4  x  15 


65  MISAKA  SUIMEN,  KOSHIU. 

Fuji  mirrored  in  Lake  Misaka,  Province  of  Kai.  Mt.  Fuji  tinted 
in  modulated  greys  growing  white  at  the  crest,  with  a  touch  of 
glowing  sunset  rose  at  the  base  of  either  slope.  The  sky  is  clear 
with  a  stroke  of  red-brown  across  the  top.  The  hills,  rising 
either  side  the  lake,  are  a  clear  blue  enclosing  the  village  all 
white  with  grey  shadows,  with  the  mountain  mirrored  in  the 
pellucid  blues  of  the  lake  at  its  feet. 

Signature:  Zen  Hokusai  Tamekazu  Hitsu. 

*In  collector’s  condition,  showing  an  unusual  and  very  rare  color 
scheme  not  hitherto  offered  at  public  sale. 

66  FUJI  SEEN  FROM  INUME  PASS,  PROVINCE  OF  KAI. 

Fuji  is  rendered  in  a  superb  modulation  of  the  deep  shades  of 
green,  violet  and  magenta,  on  which  the  snow  is  melting;  the 
cone  of  exquisite  purity  in  color  and  modelling  seen  against  a 
sky  of  palest  orange  with  deeper  streaks  of  the  same  shading  to 
rose  at  the  base.  In  the  foreground,  rise  hills  of  dark  green 
with  deeper  shadows  on  which  are  seen  two  travellers,  with  tired 
horses  and  coolies  just  starting  up  the  steep  ridge  below. 

Signature:  Zen  Hokusai  Tamekazu  Hitsu. 

*The  earliest  issue,  in  a  coloring  not  before  offered  to  the  public. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


25 


HOKUSAI:  36  VIEWS— Continued. 


No.  67.  107/s  x  15 H 


No.  68.  107/s  x  16/ 


67  FUJI  OF  GAIFU  KWAISEI.  Mighty  Mountain  seen  from  afar. 

Fuji  as  the  Peace  of  the  Universe.  This  view  is  from  nowhere 
but  everywhere  when  the  day  is  clear  and  the  wind  is  crisp.  A 
symphony  in  blue  and  green.  With  inimitable  brush  strokes  the 
mountain  rises  from  deeper  green  of  foliage  to  the  majesty  of 
grey,  with  its  slopes  in  deep  blue  shadows  over  which  streams 
melting  snow  from  the  snowy  crest.  It  rises  in  lonely  majesty 
against  a  pure  blue  twilight  sky  with  fretted  clouds  across  the  top. 
Signature:  Hokusai  Aratame  Tamekasu  Hitsu. 

*A  SUPERB  AND  VERY  RARE  COLORING  OF  THIS  PRINT  IN  FINE  CONDITION, 
with  the  margin  lines  untouched  and  the  additional  block  in  the  sky. 
Considered  as  one  of  the  gems  of  the  collection.  Professor  Fenollosa 
mentions  having  seen  it,  and  it  was  not  in  the  Hayashi  collection. 


v 


68  FUJI  FROM  YAMASHITA.  “White  Mountain  Under  Rain.” 

Fuji  seen  from  Yamashita  in  the  midst  of  a  Thunder  Shower. 
Lofty  and  supreme  Fuji  rises  above  the  destruction  unconcerned, 
let  the  lightning  flash  at  its  base !  The  glowing  majestic  mountain 
peak,  red  for  an  instant  with  the  reflection  of  the  terrific  lightning 
flash,  rises  among  the  jadelike  green  of  the  surrounding  hills  over 
which  translucent  white  clouds  curl  into  the  distant  horizon  shad¬ 
ing  into  blue. 

Signature:  Hokusai  Aratame  Tamekasu  Hitsu. 

*A  MAGNIFICENT  IMPRESSION  IN  FLAWLESS  CONDITION,  believed  to  be 
the  finest  print  of  this  series  ever  offered.  The  magenta  tones  of  the 
mountain  exquisitely  modulated  and  the  translucent  curling  clouds  so 
printed  in  gauffrage  as  give  the  impression  of  floating  out  into  the 
landscape  over  the  jade  green  hills. 


2 


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26 


JAPANESE  COLOR  PRINTS 


HOKUSAI:  36  VIEWS— Continued. 


No.  69.  10 K  x  15 


No.  70.  10J4  x  15 


( 


FUJI  FROM  THE  TEA  PLANTATION  IN  KATAKURA. 

The  thatched  roofs  and  dams  across  the  canals  are  in  pink,  with 
many  coolies  at  the  yellowish  plants  beyond  toning-  into  green 
where  Fuji  in  blue  shadows  and  melting  snow  rises  against  a  sky 
of  graded  blue.  Slight  reparation  in  upper  right. 

Signature:  Zen  Hokusai. 


FUJI  FROM  GO-HIYAKU  RAKWAN-jl. 

Fuji  from  the  upper  verandah  of  the  Pagoda  of  the  “Five  Flun- 
dred  Rakkan”  at  Yedo,  with  men,  women  and  children  on  a 
pilgrimage  ;  all  the  dresses  in  shades  of  blue  and  yellow.  The 
water  of  modulated  light  greenish  blue,  across  which  is  seen  Mt. 
Fuji  with  white  cone  and  blue-black  base  significant  of  the  ap¬ 
proaching  storm  hinted  at  by  the  grey  brush  sweep  at  the  top. 
Signature:  Zen  Hokusai  Tamekasu  Hitsu. 

*Ix  perfect  condition. 


The  Walpole  Galleries,  10  East  49th  Street,  New  Ycrk 


F.  W,  HUNTER  COLLECTION 


27 


HOKUSAI:  36  VIEWS— Continued. 


No.  71.  10^x15^ 


No.  72.  1054  x  15 


Y 


71 


MT.  FUJI  SEEN  FROM  FUJIMIHARA,  PROVINCE  OF 
OWARI. 

A  famous  print  of  Fuji  seen  through  the  opening'  of  a  great  cask 
on  which  the  cooper  is  at  work.  But  the  print  in  its  present 
purity  of  coloring'  will  be  a  revelation  to  collectors. 

Signature:  Hokusai  Aratame  Tamekazu  Hitsu. 

^Collector’s  proof  in  flawless  condition.  The  immediate  fore¬ 
ground  clear,  modulating  into  sulphur  yellow-green,  with  the  rocks  in 
blue  with  aubergine  shadows.  Beyond  the  rice  fields  in  modulated 
grey  rise  green  hills  and  a  sky  of  a  marvelous  pink  tint,  grading  into 
white  and  shaded  blues,  all  of  the  most  astonishing  freshness  of 
coloring  and  printing. 


72  FUJI  SEEN  FROM  YOSHIDA  TEAHOUSE. 

Wayfarers  resting  on  the  balcony  while  the  maid  who  serves  tea 
points  out  the  mountain  rising  in  the  distance.  The  coolie  to  the 
left  beating  out  his  leather  sandal  a  characteristic  Hokusai 
figure. 

Signature:  Zen  Hokusai  Tamekazu  Hitsu. 

*A  color  harmony  in  shades  of  blue  and  green,  in  perfect  preserva¬ 
tion. 


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28 


JAPANESE  COLOR  PRINTS 


THREE  PRINTS  FROM  HOKUSAI’S  SERIES  OF 

NOTED  BRIDGES. 

Shokoku  Meikyo  Kiran,  or  “Quaint  Views  of  Noted  Bridges  of 

Various  Provinces.” 

73  YECHIZEN  FUKUI  BASHI. 

The  Bridge  which  separates  two  feudal  domains,  built  half  of 

wood  and  half  of  stone,  as  one  man  was  rich  and  the  other  poor. 

Signature:  Zen  Hokusai  T amekazu  Hitsu. 

*No.  2  of  the  Series,  in  perfect  condition,  noted  for  the  tone  strength¬ 
ening  from  right  to  left. 


No.  73.  10 Ya,  x  15  Vs 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


29 


HOKUSAI:  NOTED  BRIDGES — Continued. 


No.  74.  lOyA  x  15 % 


74  TOGEKKYO  OF  ARASHIYAMA.  Cherry  season,  the  apple  green 

mountain,  the  mingling  of  green  of  pine  and  pink  of  blossom, 
with  the  deep  blue  shading  of  the  stream  across  which  is  thrown 
a  bridge  of  pale  yellow  unite  in  producing  a  print  of  superb  tone. 
Signature:  Zen  Hokusai  Tamekazu  Hitsu. 

*In  collector’s  condition. 

75  TSURIBASHI  OR  SUSPENSION  BRIDGE.  At  the  boundary  of 

Hida  and  Yechu  Provinces.  The  print  is  mellowed  with  time  but 
this  has  only  increased  the  color  value  of  the  deep  blues  and 
greens. 

Signature:  Zen  Hokusai  Tamekazu  Hitsu.  Publisher:  Eijudo. 
Seal :  Approval. 

*A  clear  and  crisp  impression. 


30 


JAPANESE  COLOR  PRINTS 


HOKUSAI :  — Continued. 


No.  76.  10^2  x  9 


MONKEY  BRIDGE  IN  MOONLIGHT. 

One  of  the  famous  Hokusai  prints,  and  called  the  “perfect  land¬ 
scape  print.”  The  composition  is  enhanced  in  this  print  of  Mr. 
Hunter’s  by  the  unusual  coloring,  the  cliffs  on  either  side  being  in 
red-brown  instead  of  yellow,  the  boat  having  a  reflection  and 
the  modulation  of  blues  with  overhanging  green  foliage. 
Signature:  Katsushika  Taito. 

*A  BRILLIANT  IMPRESSION  OF  THE  SQUARE  DESIGN  OF  HOKUSAI’S 

“Monkey  Bridge,”  with  all  margins. 

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F.  IV.  HUNTER  COLLECTION  31 

HOKU  S  AI — Continued. 


No.  77.  15  x  954  No.  78.  15  x  7 


77 


78 


ONO-NO  KOMACHI :  THE  SAPPHO  OF  JAPAN. 

One  of  Hokusai’s  early  prints,  and  very  interesting  as  showing' 
evidences  of  his  later  marvellous  delineation  of  character.  The 
poem  is  in  the  calligraphy  of  Tonan,  the  Poet. 

Signature :  Katsushika  Hokusai  ga. 

THE  UNSTEADY  STEP  OF  AN  INTOXICATED  GIRL. 

A  famous  print,  the  execution  of  which  must  have  given  Hokusai 
a  mischievous  pleasure.  The  Chinese  Poem  by  Ten-Wo  shows 
that  the  title  is  not  exaggerated.  She  is  proud  yet  uncertain  and 
stepping  high  with  an  attempt  at  dignity,  her  costume  shows  dis¬ 
order  and  she  is  losing  her  side-combs.  In  black,  olive  red  and 
blue  coloring. 

Signature:  Katsushika  Hokusai.  Publisher:  Yechi-cho. 


< 


The  Wai.pole  Galleries,  10  East  49th  Street,  New  York 


32 


JAPANESE  COLOR  PRINTS 


HOKUSAI— Continued. 


No.  79.  9  x  Uy2 


No.  80.  9x6 Vi 


79  FISHING  BOAT  WITH  GIRLS  ON  YEDO'  BAY  AT  SUNRISE. 

One  girl  standing  pulling  in  a  large  fish  in  a  net.  In  aubergine, 
gray,  rose  and  green. 

Without  Signature. 

*An  unknown  printing  of  this  highly  artistic  composition, 
usually  found  embrowned  and  in  dull  coloring.  The  color  of  the  great 
slowly  rising  sun  reflected  on  the  horizon  and  repeated  in  the  touches 
on  the  robes  of  the  women  on  the  boat.  A  remarkable  rendering. 

In  perfect  preservation,  the  rippling  waves  in  gauffrage. 

80  CARICATURE :  JANUARY  DANCING. 

A  scene  at  Hayashi  House,  showing  caricature  dancing  on  a  cube, 
with  caricature  music,  under  a  canopy.  Chuban  printed  in  two 
tones  of  grey. 

Signature :  Hokusai  ga. 

^Secured  as  an  example  of  the  genius  displayed  by  Hokusai  in 
humorous  characterization. 


A 


81 


CAW 


HOKUSAI :  JAPANESE  BOOK.  “Fugaku  Hyaku  Zu.” 

Hundred  Views  of  Fuji  Mountain.  Complete  in  three  volumes. 
Date  about  1870. 

Artist:  Katsushika  Hokusai. 

Publisher:  Katano  Toshiro ,  Aichi  District,  Province  of  Owari. 
Engraver :  Egawa  Sentaro. 


82  ZENPUKUSAI.  Sketch-Book.  Mainly  of  figures,  with  birds,  tor¬ 
toise,  etc.,  in  bold  outline  strokes,  and  printed  in  two  tones,  blue 
and  pink.  With  note,  on  the  author:  “Originally  found  by 
Hokusai,  who  recommended  a  publisher  for  edition.”  Date : 
1870. 


34 


JAPANESE  COLOR  PRINTS 


■*%&*&<* 


tC*f> 


No.  83.  Triptych.  Each  12j£  x  5^ 

Kiyomitsu  Harnnohu  Kivotsnrn* 


F.  W.  HUNTER  COLLECTION 


35 


SUZUKI  HARUNOBU:  1730-1770 
(See  also  Nos.  101-105) 

The  pupil  of  Nishimura  Shigenaga,  lived  all  his  life  near  Ryogoku 
Bridge  on  the  Sumida  River.  He  perfected  polychrome  color  or 
“brocade”  prints  in  1765.  Fenollosa  places  him  among  the  Four 
Great  Masters  of  Ukiyoye — and  calls  him  the  successor  of  Matahei, 
Moronobu  and  Masanobu 

83  HOSOYE  TRIPTYCH  BY  TORII  KIYOMITSU:  1735-1785. 

TORII  KIYOTSUNE:  1738-1768. 
SUZUKI  HARUNOBU:  1730-1770. 
Three  beautiful  Courtesans  as  the  Wistaria,  the  Hawthorn  and 
the  Cherry  represent  the  Three  Capitals  of  Japan — Kyoto,  Yedo 
and  Osaka.  As  illustrated,  in  the  centre  is  the  print  by  Harunobu, 
the  lady  of  the  Cherry  Blossoms,  Kyoto,  wearing  an  aubergine 
uchikake  and  maye-obi  over  delicate  salmon  pink  and  grey, 
standing  by  a  red  Koto.  The  print  by  Kiyomitsu  to  the  left, 
showing  the  Wistaria  of  Yedo,  the  girl  wearing  a  robe  of  mustard 
yellow-green  over  which  is  a  pink  uchikake  tied  with  an  obi  of 
aubergine.  The  Hawthorn  or  Osaka  Beauty  to  the  right  is  by 
Kiyotsune  ;  she  reads  a  book  by  the  light  of  slender  taper  in  a  red 
stand  at  her  feet,  her  robes  in  the  same  tones  as  the  other  pendant 
of  the  triptych.  There  are  Love  Songs  written  on  each  sheet, 
and  the  robes  of  the  girls  disclose  the  crests  of  their  favorite 
actors,  Nakemura,  Segawa  and  Nakayama.  The  foreground  is  in 
mustard  yellow,  with  a  grey  wall  on  which  are  three  sliding 
screens,  against  which  these  serene  young  women  stand,  which 
show  the  separate  floral  designs  of  indescribable  delicacy,  and  the 
apogee  of  all  interior  adornment  in  the  Art  of  Ukiyoye. 

Signatures:  Torii  Kiyomitsu ,  Torii  Kiyotsune,  Suzuki  Haru- 
nobu.  Date  about  1765. 

*Flawless  proof  impressions  of  glorious  quality,  and  untold 
historic  value,  as  an  unknown  example  of  the  collaboration  of  Haru- 
nobu  with  the  Torii  Masters.  It  shows  a  little  of  the  primitive  influ¬ 
ence  and  is  all  the  sweeter  for  this  simplicity.  It  is  indeed  a  rare  treas¬ 
ure  of  the  transition  period  of  Meiwa. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


36 


JAPANESE  COLOR  PRINTS 


HARUNOBU — Continued. 


84  THE  FLUTE  PLAYERS. 

A  Youth  seated  on  a  bench  assisting  a  girl  in  playing  the  flute. 
Sometimes  known  as  “Flute  Players  on  a  Bench”  or  “The  Flute 
Lesson.”  Two  lovers  with  a  flute  seated  on  a  large  Suzumi-dai 
covered  with  Chinese  vermillion.  The  youth  wears  a  steel  grey 
mokume  shibori  with  a  loose  haori  or  summer  coat  of  exquisite 
iron-rust  shade,  showing  the  crest  of  a  flying  white  stork.  The 
girl’s  hitoye  or  summer  gown  of  light  pearl  grey  has  a  design  of 
delicate  blossoming  Ominayeshi  in  a  vinelike  pattern.  The 
ground  of  the  print  of  exquisite  tender  green,  with  curving 
stream  in  the  background  in  which  grow  plants  with  bronzelike 
leaves  and  “beni”  flowers. 

Signature:  Suzuki  Harunobu  ga. 


^Flawless  in  condition,, impression  and  coloring,  on  thick  paper. 
The  masterpiece  of  the  collection,  so  fresh  that  it  can  only  be  com¬ 
pared  to  the  flowers  of  the  early  morning  dewy  with  moisture  and 
fragrance.  Of  these  fine  Harunobu  prints  Arthur  Ficke  has  said  “Per¬ 
fect  condition  is  a  vital  requirement,  for  in  the  process  of  fading,  his 
prints  lose  that  delicate  color-orchestration  which  is  their  supreme 
glory.”  Note  the  triangular  composition  interrupted  only  by  the  little 
slipper  that  has  fallen  between  them. 

(See  Frontispiece.) 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W,  HUNTER  COLLECTION 


37 


HARUNOBU — Continued. 


No.  85.  11^x8^  No.  86.  Iljfx8^ 


85 


86 


A  YOUNG  NOBLEMAN  HAVING  HIS  FIRST  ADVENTURE. 
Hiding  by  a  fence  in  the  autumnal  twilight  after  rain,  leaning 
on  his  Amagasa  (paper  umbrella)  in  a  blue  patterned  robe  with 
aubergine  sashinuki  waiting  and  longing  for  the  welcome  signal 
from  his  mistress. 

Without  signature.  (See  note  to  No.  87.)  Date  about  1767. 

*Very  fine  and  rare;  from  the  Hayashi  Collection,  Paris,  with  his 
red  seal  “Tadamasa  Hayashi.” 

BOY  HERDERS  ON  THE  SHORE. 

One  boy  riding  a  black  bull  playing  the  flute,  the  saddle  cushion 
and  harakake  in  “beni,”  his  dress  of  aubergine;  his  companion 
cutting  grass  with  a  sickle  wears  a  juban  in  “beni”  stripes;  a 
Pine  Tree  in  “tan”  and  green  and  a  hill  of  silvery  apple  green 
behind  them ;  while  beyond  the  waves  rippling  in  gauffrage,  curl 
on  the  shore. 

Signature:  Suzuki  Harunobu  ga.  Date  about  1766. 

*From  the  Hayashi  collection  of  Paris  with  his  seal.  A  flaw¬ 
less  IMPRESSION  IN  PERFECT  CONDITION  ON  THICK  PAPER  WHOSE  GAUF¬ 
FRAGE  PRINTING  IS  OF  A  QUALITY  TO  ROUSE  THE  ADMIRATION  OF  COL¬ 
LECTORS.  (See  note  to  No.  87.)  One  of  the  most  important  prints 
described. 


/  0  o 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


JAPANESE  COLOR  PRINTS 


HARUNOBU— Continued. 


No.  87.  11%  x  8% 


87  MUSUME  AND  HER  MAID  LEAVING  THE  BATH  HOUSE. 

Series :  Zashiki  Hakkei,  or  ‘‘Eight  Scenes  of  Indoors,”  a  com¬ 
plement  to  the  Biwa  Lake  Views.  The  print  is  entitled  “Ogi 
no  Seiran,”  or  “Clear  breeze  from  the  fan.”  The  Musume’s  dove 
grey  robe  in  a  gauffrage  design  of  drooping  snow-laden  willow 
branches  sways  with  her  forward  movement  and  is  tied  with 
an  obi  of  pink  and  blue  brocade. 

Without  signature.  Date  about  1766.  Fenollosa,  Strange, 
and  other  authorities  unite  in  the  statement  that  Haru- 
nobu  did  not  sign  many  of  his  best  prints :  “Their  beauty 
is  their  own  excuse  for  being.” — Harunobus ! 

*A  flawless  impression  in  perfect  condition.  Almost  as  rare  and 
considered  to  be  of  the  same  artistic  perfection  as  “The  Flute  Players 
(No.  84).  In  regard  to  the  artistic  use  of  gauffrage  printing  mentioned 
so  often  in  this  and  other  catalogues  wood  engravers  in  Japan  learn 
from  traditional  oral  instruction  that  there  were  three  print  designers  in 
Ukiyoye  who  laid  great  stress  on  the  value  of  wood-carving  and  printing. 
These  men  were  Moronobu,  Harunobu  and  Hokusai.  They  also  assert 
that  the  art  of  gauffrage  was  first  introduced  by  Harunobu  and 

THAT  THIS  WAS  DONE  TO  THE  BEST  ADVANTAGE  BY  RUBBING  THE  PAPER 
WITH  THE  NAKED  ELBOW  JOINT  INSTEAD  OF  THE  “BAREN.” 


F.  W.  HUNTER  COLLECTION 


39 


HARUNOBU — Continued. 


No.  88.  n%xSy2  No.  89.  11*4x8*4 

88  A  CLANDESTINE  MEETING.  A  girl  disclosing  herself  by  open¬ 

ing  a  sliding  wooden  door  to  greet  her  lover  with  a  gesture  of 
caution.  He  is  wrapped  in  a  hood  of  lacquered  black  with  its 
folds  deeply  printed  in  gauffrage. 

Signature:  Harunobu  ga.  Date  about  1767. 

*A  print  which  uses  practically  all  of  the  blocks  which  Harunobu 
termed  his  “tone-series.”  On  thick,  soft  paper. 

89  DARUMA  IN  A  BOAT  POLED  BY  A  GIRL. 

Daruma  with  a  yellow  robe  of  quality  like  chamois  skin  drawn 
over  his  head  and  printed  in  gauffrage  of  remarkable  depth 
(see  no.  87)  gazes  at  his  reflection  which  appears  in  the  water 
in  a  subdued  shade  of  yellow  tone  showing  the  high  quality  of 
the  workmanship  in  printing.  In  superb  contrast  is  the  rich 
violet  iron-rust  glaze  of  the  robe  of  the  standing  girl  who  poles 
the  boat  beyond  a  green  bank  through  undulating  waves. 
Signature :  Suzuki  Harunobu.  Date  about  1766. 

*A  FLAWLESS  IMPRESSION  IN  PERFECT  CONDITION. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


40 


JAPANESE  COLOR  PRINTS 


HARUNOBU— Continued. 


90  LOVERS  STUDYING  SHOGI  (CHESS)  ON  SUMMER 
EVENING. 

An  interior  scene;  their  robes  of  bluish  grey  and  aubergine  pat- 
0  terned  in  gauffrage,  the  chess-board  and  box  a  deep  yellow,  while 

the  sleeping-net  to  the  left  is  canopied  in  pink:  the  tatami  is  a 
pleasing  pale  apple  green  with  ash-grey  yengawa. 

Signature:  Suzuki  Harunobu  ga.  Date  about  1767. 

*An  impression  on  fine,  thick  paper  from  the  La  Farge  collection. 


91  GIRL  HELPING  A  BOY  TO  GATHER  SHELLS. 

Standing  on  a  grey  foreground  washed  by  an  apple  green  sea 
of  luminous  quality ;  the  figures  actually  gauffered  into  the  fore¬ 
ground  with  marvellous  artistic  effect. 

Without  signature.  (See  note  No.  87.)  Date  about  1767. 

*One  of  the  rarest  of  the  Haronobu  prints,  not  the  reprint, 

BUT  THE  GENUINE  ORIGINAL  IMPRESSION. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION  41 

HARUNOBU — Continued. 


92  MATSUKAZE  WITH  HER  TWO  KAMUROS. 

Series:  Ukiyo  Bijin  Yosebana  or  “Garnered  Floral  Beauties  of 
the  Floating  World,”  a  title  in  itself  sufficient  to  give  the  print 
distinction.  All  the  robes  are  silvery  grey  over  rose  color  and 
aubergine  with  a  delicate  gauffered  pattern  in  bamboo  trees  in 
cream,  tied  with  obis  of  soft  black  striped  with  ivory. 

Signature:  Harunobu  ga.  Date  about  1767. 

^Flawless  in  coloring,  impression  and  condition.  Conceded  by 
collectors  to  be  among  the  most  exquisite  and  desirable  of  the  Haru¬ 
nobu  prints,  and  as  Prof.  Fenollosa  states  of  them  “of  a  soft  charm 
more  delicate  and  varied  than  the  Greek.” 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


42 


JAPANESE  COLOR  PRINTS 


HARUNOBU— Continued. 


93  DIPTYCH :  GIRL  WELCOMING  HER  LOVER. 

The  charming  grace  of  the  girl  who  cannot  restrain  her  eager¬ 
ness,  but  has  left  the  gate  and  is  crossing  the  little  bridge  over  the 
stream  to  meet  her  lover,  is  a  mark  of  Harunobu’s  best  period. 
The  Youth,  attended  by  a  boy  who  bears  a  gift — a  nightingale  in 
a  cage — moves  by  the  side  of  the  stream  to  meet  her,  waving 
his  pink  fan  in  a  salute. 

Without  signature.  (See  note  No.  87.)  Date  about  1767. 

*In  proof  condition,  retaining  all  the  color  values  and  as  a 

DIPTYCH  EXCESSIVELY  RARE. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


HARUNOBU— Continued' 


.r 


* " 
*\ 


No.  93.  Ilarunobu.  Diptych. 


44 


JAPANESE  COLOR  PRINTS 


HARUNOBU— Continued. 


No.  94.  1154  x  8yi  No.  95.  11?4  x  8% 


94  LOVERS  LIGHTING  PIPES  BY  GARYOBAI  PLUM  TREE. 

Plum  Flower  Garden  with  the  famous  Garyobai  Plum  Tree  in 
full  blossom  on  a  grey  wash  ground  beyond  the  bamboo  fence. 
The  lovers  exchanging  lights  stand  in  the  foreground  attended 
by  a  small  boy  dressed  in  green  carrying  a  pair  of  clogs.  The 
robes  of  the  lovers  are  in  rich  contrasting  aubergine  and  magenta 
enhanced  by  gauflfrage  and  the  figures  embossed  on  the  back¬ 
ground  with  Harunobu’s  peculiar  grace  and  delicacy. 
Signature:  Suzuki  Harunobu  ga.  Date  about  1768. 

*Flawless  in  condition  and  impression,  retaining  every  color 
value  as  fresh  as  when  printed,  notable  for  the  rich  “beni”  of  the 
robe-linings.  On  thick  paper.  From  the  La  Farge  collection. 

95  LOVERS  PLAYING  HANETSUKI  ON  NEW  YEAR’S. 

A  print  of  dove  greys  and  blues  with  subtle  use  of  black,  for 
which  Harunobu  is  unrivalled ;  their  robes  turquoise  blue  and 
greys  warm  with  yellow  tones  or  violet,  harmonize  with  the  pearly 
grey  foreground,  the  wall  of  palest  pink  tints,  and  the  barred 
windows  through  which  is  seen  a  Plum  Tree  in  blossom  against 
a  turquoise  sky. 

Signature :  Harunobu  ga.  Date  about  1768. 

*A  collector’s  print  of  perfect  purity  of  tone,  of  exceptional 
artistic  and  aesthetic  charm  and  merit. 


F.  IV.  HUNTER  COLLECTION 


45 


HARUNOBU — Continued. 

96  SERIES  OF  “SEVEN  DISGUISED  KOMACHIS.” 

As  a  wood-cutter’s  wife  with  a  load  of  faggots  resting  on  a  log 
under  a  Cryptomeria  tree  while  the  boy  is  preparing  to  throw  a 
rock.  Their  robes  of  ecru,  the  tree,  faggots,  etc.,  in  Indian  red, 
and  the  background  toned. 

Without  signature.  (See  note  to  No.  87.)  Date  about  1763. 

*Very  early  Hosoye  form  in  fine  condition. 

97  WOMAN  AND  GIRL  GOING  TO  THE  THEATRE. 

The  woman  wears  a  pale  aubergine  hood  and  olive  green  robe 
lined  with  beni ;  the  child  wearing  a  pale  orange  stripe  Kimono ; 
the  entire  background  is  grey,  with  the  Theatre  in  the  upper  left 
side  in  beni,  and  the  signature  in  white  reserve. 

Signature:  Harunobu  ga.  Date  about  1767. 

*The  print  is  mellowed  by  time,  but  retains  its  original  charm  of 
composition. 


No.  96.  12%  x  5t/2  No.  97.  \1%  x  SM 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


46 


JAPANESE  COLOR  PRINTS 


No.  98.  11J4  x  5*4 


AN  IMPORTANT  DISCOVERY 

The  following  eight  prints  were  secured  by  Mr.  Hunter  as  the 
work  of  Shiba  Kokwan  (see  No.  119).  They  are  parts  of  three 
different  series  bearing  the  signatures  of  Kiyomitsu,  Shigemasa 
and  Harunobu.  During  the  making  of  the  catalogue  Mr.  Matsuki 
deciphered  the  name  of  a  publisher  with  his  trade  mark  on  the 
Kiyomitsu  print  No.  98,  and  a  close  study  convinced  him  that  these 
artists  must  have  collaborated  their  designs  and  printed  at  the 
Okumura  Establishment  and  that  of  Iriyamamoto  Omiya  between 
1757-1764. 


TORII  KIYOMITSU:  1735-1785. 

98  THREE  COLOR  IMPRESSIONISTIC  PRINT:  BENI  GREY 

AND  CHINESE  WHITE  (Gofun). 

The  Warrior  Sasaki  Shiro  Takatsuna  crossing  the  Uji  River  on 

Horseback,  a  portion  of  the  destroyed  bridge  silhouetted  in  the 

background.  A  wave  in  gauffrage  is  tossing  at  an  ashen  blue- 

grey  beach.  (See  also  No.  110.) 

Signature:  Torii  Kiyomitsu.  Publisher:  “ Gourd, ”  trade  mark 

and  Okumura  Ban  or  Okumura  Wood  Engraved. 

*Apparently  the  print  was  issued  at  the  hands  of  Okumura 
Masanobu,  as  witnessed  by  the  seal  of  the  Publisher  and  the  “Gourd” 
trademark,  and  it  therefore  must  be  one  of  the  earliest  known 
prints  of  Kiyomitsu  about  1757.  Its  impressionistic  qualities  at 

THIS  EARLY  DATE  RENDER  THIS  ONE  OF  THE  MOST  REMARKABLE  AND  IM¬ 
PORTANT  discoveries  in  Japanese  ukiyoye  ;  Whistler,  Monet  and 
Matthew  Maris  have  been  influenced  by  it  to  a  remarkable  extent. 


F.  W.  HUNTER  COLLECTION 


47 


IMPORTANT  DISCOVERY— Continued. 


:  •  :  ^  ^  ' 

■ 

' 


No.  99.  10^  x  6 


lAv  /  AWWA  T,V.  /VC 
I  .  -  \  •  •  ...  ; 

*r  -  ..  ■■  A  :fe„  •  *?'  -■ 

;•  •  ;  f' 

■HA  A 

%  -  /  ; 

-  ;  • 

I'  -  L*'  t*C' 

t  ; 

... 

>■  :  -  A  -1 


No.  100.  11x5  y2 


KITAO  SHIGEMASA :  1739-1819. 

99  THREE  COLOR  IMPRESSIONISTIC  PRINT  IN  BENI,  GREY 

AND  CHINESE  WHITE. 

Series:  “Chinese  and  Japanese  Scholars”;  a  poor  but  studious 
Chinese  Scholar  leaning  out  of  the  circular  window  of  a  hut 
reading  by  snow  light.  (See  also  Nos.  130-133.) 

Signature:  Kitao  Shigemasa  ga.  Date  about  1758. 

The  print  shows  remarkable  impressionistic  treatment. 

100  TWO  COLOR  PRINT  IN  BENI  AND  GREY. 

Series :  “Chinese  and  Japanese  Scholars.”  Ono-no-Tofu  watch¬ 


ing  a 


frog  under  a  willow  tree  in  a  rain  storm. 

Without  signature. 

*Remarkable  impressionistic  print  of  this  artist.  The  rain¬ 
storm  and  his  robe  in  “beni”  on  a  delicate  blue  grey  and  Chinese 
white.  It  illustrates  a  pretty  story.  “Ono-no-Tofu  was  a.  Japanese 
nobleman  who  was  lazy  and  had  no  ambition.  Attired  in  a  beauti¬ 
ful  robe  he  went  every  day  to  learn  to  write,  but  each  day  came 
home  without  anything  accomplished,  so  Father  gave  him  hell. 
Going  to  school  this  rainy  day  he  watched  frog  trying  to  climb  on 
willow  branch,  and  everytime  the  wind  blow  and  he  fail.  After  two 
hours  he  finally  was  successful.  Then  Ono-no-Tofu  went  to  his  writ¬ 
ing  with  determination  and  soon  was  no  more  trouble  to  his  beloved 
Father,  but  later  became  one  of  three  greatest  calligraphers  of  Japan.” 


HARUNOBU:  1730-1770.  (See  Also  Nos.  83-97.) 


101  DANCING  OF  DOJIOJI.  TWO  COLOR  PRINT  IN  BENI 

AND  BLUISH  GREEN. 

The  Bell  Tower  in  bluish  green,  with  the  pillars  and  arches  in 
beni,  as  are  the  poem,  the  signature  of  Harunobu,  and  the 
figure  of  the  Dancing  Girl,  who  stands  by  the  bell  tower. 

Signature :  Suzuki  Harunobu  ga.  Publisher’s  seal  at  lower 
right  cannot  be  deciphered. 

*From  the  same  impressionistic  series  and  supposed  to  be  one  of 

THE  FEW  PRINTS  EXTANT  DONE  BY  HARUNOBU  IN  THIS  MANNER. 

102  TWO  COLOR  HOSOYE,  BENI  AND  BLUISH  GREEN. 

A  girl  by  a  gate  overhung  by  snow-laden  bamboo  boughs  accost¬ 
ing  an  aged  woman.  The  figures  in  beni  with  touches  of  green. 
Without  signature.  Date  about  1758. 

*A  REMARKABLE  AND  EARLY  IMPRESSIONISTIC  INTERPRETATION  BY 

Harunobu. 


48  JAPANESE  COLOR  PRINTS 

IMPORTANT  DISCOVERY— Continued. 


No.  102.  11x5*4 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


49 


F.  IV.  HUNTER  COLLECTION 


IMPORTANT  DISCOVERY— Continued. 


No.  103.  10^x6 


103  EIGHT  VIEWS  OF  BIWA:  FOUR  COLOR  HOSOYE,  beni 
grey,  blue  and  violet. 

“Hira-no-Bosetsu,”  or  “Snow  Clad  Hira  Mountain  in  the  Twi¬ 
light.”  A  horseman  with  his  burden  of  wood  is  leading  his 
horse  along  the  snow  covered  banks  of  the  Lake,  a  fishing  boat 
in  the  distance. 

Without  signature  (but  see  signatures  on  two  following  prints 

of  this  series).  Artists  did  not  consider  it  necessary  to  sign 

the  whole  series.  Date  about  1758. 

*One  of  the  set  of  “Eight  Views  of  Lake  Biwa,”  showing  Haru- 
nobu’s  excellence  in  painting  landscape  which  astonished  the  world. 
The  impressionistic  treatment  of  the  Pine  Trees,  the  water  of  charming 
blue,  with  the  undulating  lines  in  gauffrage  and  the  exquisite  violet 
shadows,  prove  this  artist  a  master  of  landscape  as  well  as  the  figures 
of  women. 


1  i-0 


104 


THREE  COLOR  HOSOYE :  Beni,  green  and  lavender. 

Series:  “Eight  Viws  of  Lake  Biwa.”  Karasaki-no-Yau,  or 
“Evening  Rain  on  Karasaki  Pine  Tree.” 

Signature :  Suzuki  Harunobu  ga.  Publisher :  Iriyamamoto 
Omiya. 

*An  almost  unbelievable  example  of  the  work  of  Harunobu 
with  the  rain  in  violet  blue  shadows  pouring  over  old  Karasaki  Pine 
printed  in  beni  and  faint  green  of  foliage. 


]  ♦ 

H  0 

A 


50 


JAPANESE  COLOR  PRINTS 


IMPORTANT  DISCOVERY— Continued. 


No.  105.  10J4  x  6 

105  EVENING  BELLS  OF  Mil  TEMPLE.  BY  HARUNOBU. 

Three  color  hosoye,  beni,  green  and  lavender.  From  the  series 
“Mii-no-Bansho”  or  “Eight  Views  of  Lake  Biwa.”  Wayfarers 
in  the  foreground  travelling  in  Ivago  and  on  the  back  of  a  bull, 
pass  enchanting  small  thatched  houses  in  violet  blue,  the  Buddhist 
Temple  in  beni  and  Temple  yard  in  violet  blue  in  the  background. 
Beyond  little  sail  boats  on  undulating  waves  of  faint  green. 
Signature:  Harunobu  ga.  Publisher:  Iriyamamoto  Omiya. 

*An  impressionistic  print  in  fine  condition. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


51 


F.  W.  HUNTER  COLLECTION 


106 


107 


TORII  KIYOHIRO :  Flourished  1750-58. 

Very  little  known  of  Kiyohiro  except  his  few  prints. 

TWO  COLOR  RAIN  PRINT  IN  BENI  AND  GREEN. 

Amagoi  Komachi,  or  the  Rain  Praying  Komachi.  The  Princess 
carrying  a  ship  under  the  umbrella  held  by  an  attendant;  a 
sharp  slanting  rain  is  falling. 

Signature:  Torii  Kiyohiro  Hitsu.  Publisher:  Maruko  Ban. 
Date  about  1754. 

*Unsurpassed  in  poise  and  aesthetic  charm. 

THREE  COLOR  PRINT. 

Blue,  beni  and  yellow  the  last  two  toning  into  pale  buff.  A  girl 
disguised  as  a  Young  Samurai  with  an  attendant  who  holds  an 
open  umbrella  passing  under  a  pine  tree.  Traces  of  the  mica 
ground  remain. 

Signature:  Torii  Kiyohiro  Hitsu.  Publisher:  Maruko  Ben 
Tori  Ahuracho.  Date  about  1754. 


ON 


No.  106.  12x5  Ya, 


No.  107.  12x5  y4 


52 


JAPANESE  COLOR  PRINTS 


108 


Cl  L  (xa^cAJLm. 


TORII  KIYOMASU :  1685-1764. 

Succeeded  his  father,  Kiyonobu,  the  founder  of  the  Torii  Family, 
and  became  the  second  head  of  the  School.  The  contemporary 
of  Okumura  Masanobu,  their  work  in  lacquer  printing  is  hard 

to  distinguish 

URUSHIYE  OR  LACQUER-PRINT  AS  WELL  AS  BENIYE. 
Actor  Sanjio  Kanataro  as  a  wandering  girl  carrying  the  bough 
of  a  tree.  His  robe  in  hand-coloring  of  “beni”  and  orange 
heightened  by  the  use  of  black  lacquer  in  a  delicate  gauffered 
design.  Parts  of  the  sleeves  of  this  overdress  of  black  lacquer 
are  tinted  in  gold  powder,  with  a  sash  of  aubergine  modulated 
on  white. 

Signature:  Yamatoyeshi  Torii  Kiyomasu.  Publisher:  Murata. 
Date  about  1725. 

*In  flawless  condition  retaining  every  color  with  which  it  was 
adorned  by  the  artist. 


No.  108.  13}^  x  6 V\ 


F.  W.  HUNTER  COLLECTION 


53 


KIYOMASU— Continued. 


No.  109.  \2l/2  x  Sl/2 

109  ACTOR  OTANI  HIROJI  AS  HONDA  HARUNAGA. 

Two-color  print  in  old  Chinese  blue  and  palest  yellow  with  black 
“mon”  and  sash.  Slight  repair. 

Signature:  Torii  Kiyomasu.  Publisher:  Maru-kichi  Kami- 
mura.  Date  about  1745. 

^Harmonious  rendering  of  yellow  and  blue. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


54 


JAPANESE  COLOR  PRINTS 


TORII  KIYOMITSU :  1735-1785. 

The  son  of  Torii  Kiyomasu,  who  succeeded  as  the  Third  Scion  of 
the  Torii  Family.  An  important  leader,  in  advance  of  his  times, 
he  originated  a  decidedly  new  school. 

110  ACTOR  ICHIMURA  KAMEZO  AS  KIO-NO-JIRO. 

Two-color  print  in  blue  and  yellow,  showing  a  story-teller  who 
has  just  landed  from  a  boat,  beginning  the  relation  of  a  legend. 
Signature:  Torii  Kiyomitsu  Hitsu.  Publisher:  Yamashiroya. 
Date  about  1754.  (See  Also  No.  98.) 


lob' 


111  THREE  COLOR  PRINT,  BENI,  GREEN  AND  BLUE. 

Scene  from  a  Drama:  Nakamura  Tomijuro  as  Matsukaze  in  a 
robe  with  “feather-wheel”  Crest;  Ichimura  Kamezo  as  Yakihira ; 
Arashi  Otohachi  as  Sanzayemon  stooping  between  them. 

Signature:  Torii  Kiyomitsu  Hitsu.  Seal:  Kiyomitsu.  Pub¬ 
lisher:  Maruko  Tori  Aburaclio.  Date  about  1758. 

*From  the  La  Farge  Collection,  selected  before  he  made  his  public 
sales.  Fine  condition. 


No.  110.  12  X  5yi 


No.  111.  12  X  5H 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


55 


KIYOMITSU— Continued. 


No.  112.  12x514  No.  114.  10J4  x  7H 


1 12  TWO  COLOR  PRINT  IN  BENI  AND  GRAY. 

Bando  Hikosaburo  as  Hanaregoma  Chokichi  holding'  his  black 
horse. 

Signature:  Torii  Kiyomitsu  Hitsn.  Publisher:  Okumura 
Ban ,  Gourd  trade  mark.  Date  about  1756. 

One  of  the  early  and  best  prints  of  Kiyomitsu. 


V\h 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


56 


JAPANESE  COLOR  PRINTS 


TORII  KIYONAGA:  1742-1814. 

Ukiyoye  artist  of  great  distinction,  who  succeeded  to  the  title  of 
the  fourth  generation  of  the  Torii  Family  and  a  pupil  of  Kiyomitsu. 

His  brush  stroke  in  line  modelling  is  so  marvellous  that  Professor 
Fenollosa  often  compared  him  with  Li-Ryo-Men  of  China 

113  TWO  GIRLS  ON  THE  VERANDAH. 

Series:  “Shiki-Hakei”  or  Eight  Scenes  in  Four  Seasons.  The 

print  represents  the  month  of  the  Chrysanthemum.  The  dresses 

are  green  and  ecru  tied  with  obis  of  ochre-orange  of  great  beauty. 

Signature:  Kiyotiaga  ga.  Publisher:  Eiju. 

*An  important  print  of  the  early  Kiyonaga  period.  A  crisp  impres¬ 
sion  IN  PERFECT  STATE  ON  THICK  PAPER. 


114 


/ 


% 


0 


GROUP  OF  TRAVELLERS. 

A  man,  two  women  and  boy  attendant.  The  colors  are  mellowed 
but  beautifully  balanced  by  the  use  of  the  rich,  soft  black  of  the 
robe  of  the  central  figure  which  dominates  the  print. 

Signature :  Kiyonaga  ga. 

*From  the  Hayashi  collection,  with  his  seal :  “Hadamasa  Hayashi.” 


No.  113.  16  l/s  x  Tg\ 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


9  ;•  ' 


* 


I 


58 


JAPANESE  COLOR  PRINTS 


KIYONAGA — Continued. 


Xo.  115.  8 y2  X  5'A 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


E.  W.  HUNTER  COLLECTION 


59 


KIYONAGA — Continued. 


115  TWO  COURTESANS  AT  A  LATTICE  WINDOW. 

Series:  “Rokkasen,”  Poem  of  Otomo  Kuronushi.  Two  Courte¬ 
sans  at  a  barred  widow,  robed  in  pink  gauffered  into  artistic  de¬ 
signs,  one  wearing  an  aubergine  uchikake,  a  tall  and  beautiful 
figure  standing  at  the  window  watching  a  flight  of  wild  geese ; 
her  companion  seated  at  her  feet  absorbed  in  writing  a  love 
letter.  The  wood-work  including  the  panes  of  the  shoji  is  tinted 
a  light  tan,  the  orchid  wall-paper  in  palest  green  on  luminous 
grey. 

Signature  :  Kiyonaga  ga.  Publisher :  Eijuban. 

*A  very  important  and  beautiful  chuban  of  marked  similarit}- 
in  composition  to  the  rare  famous  series,  “Barred  Window  and  Waning 
Moon,  Minami  Juniko  or  the  Twelve  Seasons  of  Shinagawa.” 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


60 


JAPANESE  COLOR  PRINTS 


KIYONAGA— Continued. 


A  STAGE  WITH  ACTORS  AND  CHORUS. 

Segawa  Kikunojio  and  Iwai  Hanshiro  as  Osome  and  Hisamatsu 
in  a  dramatization  of  the  familiar  love  story.  Slight  reparation  at 
right  edge. 

Signature:  Kiyonaga  ga.  Engraver:  Takatsu. 

*A  remarkable  composition  of  interlocked  triangles  of  black  and 
delicate  yellow. 


117  HINAGATA  WAKANA  NO  HATSUMOYO. 

Series:  “Foremost  Patterns  of  Young  Leaf  Models.”  The  tall 
and  beautiful  Segawa  of  Matsubaya  promenading  with  Takeno 
and  Sasano  her  attendants.  All  are  attired,  as  customary,  in 
holiday  robes  in  the  same  design  of  blooming  Iris  Flowers  in 
subdued  rose,  ecru  and  green. 

Signature :  Kiyonaga  ga.  Engraver :  Eijudo. 

*A  harmony  of  color  showing  a  beautiful  rendering  of  the  comple¬ 
mentary  pinks  and  greens. 


No.  116.  15  X  91/i 


No.  117.  14H  x  10 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


61 


KIGONAGA — Continued. 


No.  118.  13J4  x9 


118  FURYU  KODOMO  ASOBI  GOSEKKU. 

Series:  “Five  Seasons  of  Boys’  Festivities.”  The  Chrysanthe¬ 
mum  Month  showing  a  group  of  four  boys,  the  smallest  carried 
on  the  shoulders  of  his  big  brother,  peeping  through  the  fence 
at  the  Chrysanthemum  Exhibition.  Slight  reparation  in  upper 
right. 

Without  signature.  Publisher :  Iriyamamoto  Omiya. 

*Omiya  was  a  well-known  old  color  print  publisher  in  Asakusa 
Yedo. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


62 


JAPANESE  COLOR  PRINTS 


SHIBA  KOKWAN:  1747-1818. 

The  follower  of  Harunobu.  See  “Important  Discovery,”  98-105 

1 19  SERIES  :  OMI  HAKKEI. 

Two  scenes  of  the  series  printed  on  a  long  narrow  sheet  of  un¬ 
usual  shape,.  “Wild  Geese  at  Ivatada,”  and  “Twilight  at  Seta,” 
alternating  with  two  dainty  little  figures  of  Harunobuesque 
quality.  Prevailing  tones :  brown,  with  a  purple  tint  and  ochre 
orange. 

Signature:  Harunobu  ga.  Publisher:  Nishimura. 

*In  collector's  condition.  Excessively  rare.  A  good  example  of 
the  artistic  license  of  Japan,  inasmuch  as  here  the  artist  signs  the 
name  of  Harunobu  his  master.  His  own  reputation  is  established  as 
one  of  the  Great  Impressionists  of  Japan,  and  his  work  is  so  rare  as 
to  be  known  bv  name  only  to  most  collectors.  (See  preliminary  note 
to  No.  98.) 


No.  119.  6  x  12*4 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


63 


ISODA  KORIUSAI :  1725-1788. 

The  follower  of  Shigenaga  and  Harunobu 

120  A  COURTESAN’S  DRESSING  ROOM:  INTERIOR. 

Over  a  lacquered  Kimono  rack  is  thrown  a  robe  of  soft  violet 
tone  lined  with  rose  color.  To  the  right  stands  a  small  coal  black 
dog  with  long  hair  who  looks  mischievously  at  the  low  bowl  of 
brilliantly  colored  sweet  cakes.  The  delicate  violet  tone  of  the 
wall  behind  oxidising  with  the  passing  of  time,  and  the  reserve 
ground  of  silvery  apple  green. 

Signature:  Isoda  Koriusai.  Date  about  1768. 

^Connoisseurs  will  consider  this  one  of  the  most  remarkable  prints 
in  the  Hunter  Collection.  In  a  flawless  state  of  preservation,  it  repre¬ 
sents  the  witchery  of  this  beautiful  creature  who  has  thrown  off  her 
every  day  self  and  in  the  guise  of  a  small,  black  dog,  with  wicked, 
sparkling  amber-colored  eyes,  takes  one  last  look  at  the  things  of  the 
day  before  she  starts  out  through  that  violet  grey  dusk  of  the  back¬ 
ground  into  a  night  as  black  and  mysterious  as  she  is  herself. 

In  superb  collector’s  condition,  the  gauffrage  printing  on  the  robe 
is  very  fine  and  that  on  the  dog  of  such  remarkable  workmanship  that 
it  looks  as  if  it  might  almost  have  been  applied  instead  of  printed. 


No.  120.  11J4  x  sy2 


64 


JAPANESE  COLOR  PRINTS 


KORIUSAI — Continued. 


No.  122.  15  x  lOl/2  No.  121.  15  1/3x10  1/3 

121  UTAGAWA  OF  MATSUBAYA  WITH  ATTENDANTS. 

“Hinagata  Wakana  No  Hatsumoyo,”  Series :  “Foremost  Patterns 
of  Young  Leaf  Models,”  The  Beauty  in  a  rose  colored  Uchikake 
or  outer  garment  with  an  obi  of  magnificent  black  gauffered  in 
white  cherry  blossoms  is  a  striking  figure,  while  her  opaque 
cream  underrobe  with  grey  cherry  flowers  is  enchanting  in  color. 
This  is  probably  the  earliest  print  of  this  set  published  by 
Koriusai  which  produced  an  immediate  demand  for  others. 
Signature:  Buko  Yagenbori  Inshi  Koriusai  ga.  Publisher: 
Eiju  Ban.  Date  about  1774. 

*The  print  is  crisp  and  on  thick,  soft  paper.  A  proof  of  the  earliest 
sheet  of  this  series,  the  work  of  Koriusai’s  culminating  period. 

122  TAMAGAWA  WITH  TWO  KAMUROS  AND  TWO  MAIDS. 
Series:  “Foremost  Patterns  of  Young  Leaf  Models.”  The 
lovely  modest  Tamagawa  with  Tasoya,  Kichiji  and  two  girls 
form  a  glowing  group  in  rose,  blue,  dove  grey  and  aubergine 
passing  the  black  bell-tower  under  a  misty  blue-grey  sky,  with 
a  house  in  the  distance  whose  roof  is  modulated  by  time  into 
a  rich  orange  color. 

Signature:  Koriusai  ga.  Publisher:  Eiju.  Date  about  1775. 

*The  glowing  brilliance  of  coloring,  enhanced  by  the  masses  of  black, 
render  this  one  of  the  most  charming  prints  in  the  collection. 


F.  IV.  HUNTER  COLLECTION 


65 


KORIUSAI — Continued. 


No.  123.  10 x  7J4 


123 


LOVERS  IN  A  SNOWY  TWILIGHT. 

“Furiu  Nagauta  Hakkei,”  Series :  “Eight  Tasteful  Scenes  from 
Love  Songs.”  The  Youth  followed  by  his  sweetheart  and  a  boy 
attendant  enjoying  an  outing  in  the  snowy  twilight  near  a  bam¬ 
boo  fence  and  wood  lantern  whose  orange  tones  are  softened  by 
their  weight  of  snow ;  snow  still  falling  in  the  background,  from 
a  steel  blue  sky,  which  offsets  the  pink,  aubergine,  green  and 
ochre-orange  of  the  robes. 

Signature:  Koriu  ga.  Date  about  1770. 


*Chuban  of  faultless  impression  in  perfect  preservation. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


66 


JAPANESE  COLOR  PRINTS 


KUNINOBU:  1664-1780. 

The  Follower  of  Harunobu,  whose  work  is  excessively  rare 

124  TWO  BOYS  GOING  FISHING. 

The  color  mellowed  by  time  into  soft  grey  and  yellow,  but  the 
beautiful  lines  hold  their  value. 

Signature:  Kuninobu.  Date  about  1775. 

*This  print  was  secured  by  Mr.  Hunter  from  the  La  Farge  collection 

before  Mr.  La  Farge  made  his  public  sales.  Very  rare. 


No.  124.  12  x  Syi 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  IV.  HUNTER  COLLECTION 


67 


KITAO  MASANOBU,  or  Santo  Kyoden,  1761-1816. 


Pupil  of  Kitao  Shigemasa,  and  artist  as  well  as  a  great  novelist  and 
composer  of  popular  ballads.  Masanobu  left  comparatively  few 


prints,  and  they  rank  very  high  among  collectors. 

125  SHINSEN  ZASHIKI  HAKKEI. 


Series:  “Eight  newly  selected  Indoor  Scenes.”  Young  woman 
in  a  glorious  black  Furisode  or  long  robe  in  a  pattern  of  snowy 
bamboo,  and  flying  birds  rolling  up  a  kakemono  at  Tokonoma 
watched  by  her  little  son  and  kneeling  maid. 

^Flawless  condition. 


126  YOUTH  ACCOSTING  A  YOUNG  WOMAN  AND  HER  MAID. 


Tosei  Yatsushi  fu  Jikkei  Zu,  Series:  “Ten  Lavish  Models  of  the 
Present  Day.”  The  Young  girl  wears  a  furisode  of  white  toning 
into  grey  and  gauffered  in  a  chrysanthemum  crest  pattern  at  the 
border,  in  contrast  to  the  strong  red-brown  and  dark  olive  and 
black  of  the  figures  either  side  of  her ;  her  pink  brocade  obi 
harmonizes  the  rich  color  scheme. 

Signature:  Kitao  Masanobu  su.  Date  about  1779. 

*In  perfect  condition  save  for  a  slight  strengthening  of  the  sky  near 
the  blank  top  margin. 


i 


No.  126.  10 ^  x  7M 


No.  125.  10  x  7yi 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


68 


JAPANESE  COLOR  PRINTS 


NAGAHIDE:  1704-1760. 

Pupil  of  Shigenaga,  whose  prints  are  among  the  rarest  extant 

127  KIRARAYE  OR  MICA  PRINT. 

Amiuchi,  a  fish-net  caster,  in  a  Gion  Festival  procession  costume 
held  at  Miyako  (Kyoto)  ;  the  long  coat  and  hat  printed  in  silvery 
glimmering  mica,  with  Shibori  spots  on  the  robe  in  violet,  over 
a  lining  of  orange.  His  boy  attendant  is  in  pink,  aubergine  and 
sulphur  yellow. 

Signature:  Nagahide  ga.  Publisher:  Kano  Ki  Nazvate,  Kio. 
Date  about  1760. 

^Collector’s  print,  excessively  rare.  Published  and  printed  in 
Kioto  instead  of  Yedo. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


69 


No.  128.  13M  x9J4 


SEKIHO:  1790-1810. 

Follower  of  Utamaro 

128  FISHING  PARTY  OF  A  YOUTH  AND  TWO  GIRLS. 

A  young  man  in  ecru  robe  tied  with  black  and  held  above  the 
knees,  wades  into  the  stream  carrying  on  his  back  a  girl  in  a  red 
brown  robe  tied  with  pink ;  their  companion  in  black  gauze  with 
ochre  and  cream  obi  wades  beside  them  carrying  the  black  net. 
Signature:  Sekiho  Hitsu.  Publisher:  Marujin.  Date  about 
1803.  Some  reparation. 

*A  PRINT  OF  EXCEPTIONAL  BEAUTY  AND  CHARM. 

129  SHIGEMASA  AND  SHUNSHO.  JAPANESE  BOOK. 

“Seiro  Bijin  Awase  Kagami”  or  Mirror  of  the  Beauties  of  the 
Green  Houses.  Complete  in  three  volumes,  small  folio.  1776. 

*First  Edition.  Very  rare  and  desirable;  one  of  the  most  sought 
for  of  all  the  Japanese  illustrated  books,  celebrated  for  the  beauty  and 
grace  of  its  women,  and  the  delicate  rose  pink,  violet  and  old  yellow  of 
the  coloring  offset  by  the  most  artistic  use  of  black.  The  Egerias, 
Phrynes  and  Sapphos  of  Japan  are  shown,  with 

“Who  is  Lesbia,  What  is  She?” 

smoking  a  dainty  pipe,  playing  games,  coming  from  the  bath, 
admiring  flowing  stream  or  listening  to  Singing  Insects.  The  original 
EDITION,  DONE  IN  COLLABORATION  BY  KlTAO  SHIGEMASA  (1728-1909)  AND 
Katsukawa  Shunsho  (1726-1792). 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


70 


JAPANESE  COLOR  PRINTS 


KITAO  SHIGEMASA :  1739-1819. 

Celebrated  as  the  producer  of  the  most  beautiful  illustrated  books 
of  Japan,  and  a  pupil  of  Shigenaga.  His  most  famous  work  is 
“Seiro  Bijin”  or  “Women  of  the  Green  Houses,”  (see  No.  129), 
a  work  of  collaboration  with  Shunsho.  (See  No.  99.) 

130  SILK  WORM  SERIES.  No.  2. 

“Kaiko  Yashinai  Gusa,”  Series :  “Silk  Cocoon  Raising.”  Three 
girls  gathering  mulberry  leaves  by  a  Stream,  in  ochre  orange, 
ecru  and  aubergine,  the  sky  oxidising  into  grey  blue  against 
the  distant  hills. 

Signature  :  Kitao  Shigemasa  ga. 

*In  collector’s  condition. 


131  SILK  WORM  SERIES.  No.  5. 

“Kaiko  Yashinai  Gusa,”  Series:  “Silk  Cocoon  Raising.”  Two 
women  busily  engaged  in  feeding  the  cocoons  on  a  glowing  mat 
of  ochre  orange,  while  idle  musume  and  baby  bother  them  in  their 
work.  Coloring  in  brilliant  tender  green,  rose,  aubergine  and 
ochre  orange. 

Signature :  Kitao  Shigemasa  ga. 

*In  collector’s  condition. 


No.  131.  10  -14x714. 


No.  130.  10*4  x  7J4 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


71 


SHIGEMASA — Continued. 


No.  133.  10J4x7p4  No.  132.  10:4x7^ 

132  YATSUSHI  HAKKEI : 

Series :  ‘‘Eight  scenes  of  Biwa  Lake  in  parody.”  The  print  repre¬ 
sents  “Evening  Rain  over  Karasaki  Pine  Tree,”  the  simply 
outlined  shadow  of  the  Pine  Tree  on  the  Shoji,  and  the  poetical 
conception  of  the  wind  in  the  leaves  rendered  by  the  noise  of 
the  playing  children.  Fine  condition. 

Signature  :  Kitao  Shigemasa  ga. 

133  NOVEMBER:  Shimofuri  Zuki  (Eleventh  Month):  Series 

“Twelve  Months.” 

A  group  of  Pilgrims  in  a  Shinto  Temple  yard  under  the  red 
Torii ;  the  Father  with  Baby  on  his  shoulder  followed  by  Mother, 
a  maid  and  little  boy,  in  aubergine,  green  and  pink.  The  print  is 
diagonally  divided,  the  lower  left  corner  showing  a  charming 
snow  scene  with  a  man  lighting  a  huge  snow-lantern  for  the 
watching  girl  at  the  window. 

Signature  :  Kitao  Shigemasa  ga. 

*In  published  state.  The  dash  of  black  dividing  the  daring  com¬ 
position. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


JAPANESE  COLOR  PRINTS 


NISHIMURA  MAGOSABURO  SHIGENAGA :  1697-1756. 

The  son  of  Shigenobu,  artist  and  book  publisher.  Influenced  by 
Masanobu,  called  the  inventor  of  three-color  printing.  Harunobu 
spent  his  early  days  with  him 

URUSHIYE  OR  LACQUER  PRINT. 

The  actor  Arashi  Wakano  as  the  Youth  Gompachi  about  to  don 
his  large  straw  hat  detained  by  a  boy  messenger;  the  rich  de¬ 
signs  of  the  robes  are  hand-colored  in  yellow  and  light  tan.  One 
of  the  most  important  prints  of  Shigenaga  in  the  manner  of 
Okumura  Masanobu. 

Signature :  Nippon  Gako  Nishimura  Shigenaga  Hitsu.  Pub¬ 
lisher:  Igaya,  Motomacho.  Date  about  1728. 

*The  work  of  Shigenaga  is  the  most  important  bridge  between  the 
Primitives  and  the  later  schools. 


k' 


No.  134.  12J4xSM 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  IV.  HUNTER  COLLECTION 


73 


135 


KATSUKAWA  SHUNKO:  1760-1827. 

The  Pupil  of  Shunsho,  and  one  of  his  two  important  followers. 

His  full  sheet  prints  are  very  rare  and  his  best  work. 

DAIMIO  AND  A  PRINCESS. 

Ichikawa  Monnosuke  as  the  Daimio  and  Segawa  Kikunojio  as 
a  Princess.  His  overrobe  of  aubergine  over  rose  and  grey.  The 
furisode  of  the  Princess  is  warm  grey  with  floral  crests  in  violet. 
Signature:  Shunko  ga.  Date  about  1778. 

*A  BROADSHEET  OF  SUPERB  COMPOSITION  IN  FINE  CONDITION. 


No.  135.  12^x8^ 


74 


JAPANESE  COLOR  PRINTS 


SHUNKO — Continued. 


t 


! 


... 


No.  136.  12^4  x  6. 


No.  137.  1034  x  534. 


No.  138.  1234  x  524 


136 


ICHIKAWA  MONNOSUKE  AS  OTOKODATE. 

His  coat  of  stripes  in  old  red,  black  and  cream  over  apricot.  He 
stands  in  the  rice  field  on  a  yellow  ground. 

Signature:  Shunko  ga.  Date  about  1780. 

*Hosoye  from  the  Hayashi  collection,  with  seal  “Tadamasa  Haya- 

slli.”  A  MAGNIFICENT  IMPRESSION  IN  COLLECTOR’S  CONDITION. 


137 


THE  ACTOR  OTANI  IN  THE  ROLE  OF  A  SAMURAI. 

A  crisp  impression  in  grey,  ecru  and  “tan,”  the  maple  leaves, 
sword  ornaments  and  robe  lining  a  glorious  “tan.” 

Signature:  Shunko  ga.  Date  about  1780. 

*It  bears  comparison  with  the  best  work  of  his  Master  Shunsho. 


IWAI  HANSHIRO  AS  A  DRUM  CARRIER. 

Hosoye  in  soft  tones  of  apricot,  ecru  and  yellow,  tied  with  a 
black  sash. 

Signature:  Shunko  ga.  Date  about  1780. 

*A  print  in  rare,  beautiful  condition,  unsurpassed  in  poise. 


F.  IV.  HUNTER  COLLECTION 


75 


KATSUKAWA  SHUNSHO,  1726-1792. 

Shunsho’s  mastery  of  art  is  derived  from  his  great  Ukiyoye  master 
Miyagawa  Choshun,  who  was  a  painter  of  great  merit.  Shunsho 
was  a  collaborator  with  Shigemasa  in  the  illustrated  books  “Seiro 
Bijin”  or  “Women  of  the  Green  Houses”  (see  No.  129).  His 
most  important  works  are  the  series  of  hosoye  actor  prints  here 

offered 

139  SAMURAI  PORTRAYED  BY  AN  OTANI  SCHOOL  ACTOR 
The  flesh  in  deep  rose,  the  robe  of  aubergine  with  spots  of  “tan.” 
Signature:  Shunsho  ga.  Date  about  1775. 

*With  the  exception  of  a  foxed  spot  in  the  upper  left  corner,  a 
hosoye  in  superb  collector’s  condition  and  perfect  registration. 


140 


A  FEROCIOUS  SAMURAI. 

The  upper  coat  of  warm  grey  patterned  in  Falcon  feathers  in 
light  tan,  his  robe  of  exquisite  bamboo  green  over  a  pale  rose 
kumadori,  the  face  tinted. 

Signature:  Shunsho  ga.  Date  about  1775. 

*A  fine  Hosoye  print  of  the  culminating  period  of  this  artist,  1775. 
An  inspiration  for  the  cubists. 


No.  139.  13  x  6 % 


No.  140.  Uy2  x  67/s 


7.6 


JAPANESE  COLOR  PRINTS 


SHUNSHO— Continued. 


141  AN  ACTOR  AS  A  FENCING  MASTER. 

In  an  ecru  leather  haori  over  old  rose ;  the  hakama  or  wide  and 
long  trousers  in  opaque  grey ;  the  spear  in  “tan.” 

Signature:  Shunsho  ga.  Date  about  1774. 

*Seen  in  profile,  the  dignity  of  pose  and  intensity  of  expression 
show  a  resemblance  to  Hendrik  Ibsen. 


1 


OKUMURA  TOSHINOBU:  Son  of  Masanobu. 

Pupil  and  son  of  the  master,  born  in  1709,  he  died  young  in  1743. 
His  lacquer  prints  are  lithe  in  design  and  powerful  in  coloring 


142  URUSHIYE  OR  LACQUER  PRINT. 

Man  with  his  hand  on  the  shoulder  of  a  youth  talking  with  the 
mistress  of  a  Tea-house;  his  kimono  in  black  lacquer,  while  the 
others  are  hand-colored  in  rose,  blue  and  yellow.  The  upper 
sliding  door  shows  traces  of  gold  powder. 

Signature:  Yamato  Gako  Okumura  Toshinobu  Hitsu. 

Publisher:  Izutsuya  in  front  of  Shimmei  Temple.  Date:  1725. 


*Rare  and  unusual  lacquer  print. 


No.  141.  13x6% 


No.  142.  12%  x  6 


F.  W.  HUNTER  COLLECTION 


77 


SHUNYEI :  1767-1819. 

The  most  important  pupil  of  Shunsho,  the  delineation  of  his  actor 
prints  strongly  influenced  by  his  teacher,  although  in  the  portrayal 
of  groups  in  the  roles  of  women  he  shows  the  quality  and  manner 

of  Kiyonaga 

143  KUDAN-ME  (NINTH  STAGE)  SERIES  CHUSHINGURA. 

The  noble  lady  Tonase  with  Konami,  her  daughter,  at  the  en¬ 
trance  of  the  house  of  Yuranosuke,  on  a  snowy  day  in  Spring 
accosting  the  maid.  The  mother  in  rich  black,  and  the  girl  in 
youthful  white  toned  into  grey,  tied  with  a  black  obi,  over  cherry 
color.  The  maid  leans  over  the  verandah  of  pink  tone,  and 
beyond  the  tender  green  of  young  bamboo,  covered  with  a  light 
fall  of  snow,  shadows  a  snowy  landscape  stretching  to  low  hills 
on  the  horizon. 

Signature  :  Shunyei  ga.  Publisher :  Eiju. 

*A  CRISP  IMPRESSION  ON  THICK,  FINE  PAPER  WITH  EVERY  COLOR  OF 
THE  ARTIST  PRESERVED.  EXCESSIVELY  RARE.  SHUNYEI  PRINT. 


No.  143.  10%  x  7 % 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


=0 

xo 


/ 


78  JAPANESE  COLOR  PRINTS 

UTAGAWA  ICHIYOSAI  TOYOKUNI:  1769-1825 

The  Pupil  of  Toyoharu,  early  skilled  in  the  portrayal  of  actors, 
he  later  devoted  himself  mostly  to  drawing  female  figures.  His 
early  work  in  the  manner  of  Shunsho  and  Kiyonaga  is  very  rare. 

144  THE  LOVERS  OSOME  AND  HISAMATSU. 

Iwai  Hanshiro  and  Nakamura  Noshio  in  the  roles  of  these 
famous  and  unhappy  lovers,  seen  at  half  length.  Her  dress  of 
aubergine  with  a  cherry  flower  pattern  of  delicate  pink  and  rose, 
and  plain  green  obi ;  her  collar,  hair  ornaments  and  ribbons  in 
warm  rose  color,  show  to  advantage  against  his  striped  black  coat. 

Signature:  Toyokuni  ga.  Publisher:  Tomoyeya.  Seal:  Ap¬ 
proval.  Date  about  1790. 

*Early  work  of  exceptionally  mellow  and  fine  tone. 


145  MAN  WITH  A  WOMAN  ON  HORSEBACK. 

Bando  Hikosaburo  as  Kichiza  and  Iwai  Planshiro  as  Ohichi ;  her 
robe  of  star  shell  pattern  in  violet  on  white ;  while  the  wide  violet 
stripes  of  his  robe  are  gauffered  in  white,  with  rose  pink  under- 
dress.  The  horse  of  reddish-brown  is  a  rare  portrayal  of  the 
animal  by  this  artist.  Two  moth  holes  filled. 

Signature:  Toyokuni  ga.  Publisher  Tsuruya.  Date  1794. 

*An  early  Toyokuni  from  the  La  Farge  collection,  with  his  red  seal. 


No.  144.  13^x10 


No.  145.  13  x  9g 


The  Walpole  Galleries,  10  East  49th  Street,  New  \ork 


F.  W.  HUNTER  COLLECTION 


79 


TOYOKUNI— Continued. 


No.  147.  14%  x  10  No.  146.  14%  x  10 

146  THE  FINISHING  TOUCH:  DATED  PRINT. 

Series  of  “Six  Tamagawa  Rivers.”  The  man  in  a  robe  of  light 
peach,  over  which  is  a  summer  coat  of  black  gauze  through  which 
is  seen  the  patterned  peach  color  of  his  underrobe  in  printing  of 
such  remarkable  quality  that  it  deserves  the  closest  attention.  He 
holds  a  mirror  of  black  lacquer  while  putting  the  finishing  touch 
to  his  hair  arrangement. 

Signature:  Toyokuni  ga.  Publisher:  Kanetsuru.  Date  1794. 

*A  superb  impression  on  thick  “hosho”  paper.  The  significance 
of  the  date  should  be  noted  as  of  Toyokuni’s  early  period,  and  the  fact 
must  be  emphasized  that  dated  prints  are  almost  unknown. 

147  CURIOSITY. 

Two  women  kneeling,  their  backs  partly  to  the  spectator  peeping 

through  holes  which  they  have  broken  in  the  shoji;  their  obis 

of  rich  brocade  over  robes  which  have  mellowed  with  time  into 

the  most  enchanting  apricot  and  pale  yellow. 

Signature:  Toyokuni  ga.  Date  about  1798. 

^Beautifully  oxidised,  retaining  the  highest  artistic  qualities  in  color 
and  composition,  a  notable  example  of  juxtaposition  of  coloring. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


80 


JAPANESE  COLOR  PRINTS 


TOYOKUNI—  Continued. 


148  TWO  ACTORS,  A  MAN  AND  WOMAN. 

Seen  at  half  length  in  robes  of  brown,  pale  green  and  (faded) 
blue,  the  obis  in  black  and  green. 

Signature:  Toyokuni.  Publisher:  Tsumya.  Date  about  1798. 

*One  of  the  earliest  and  rarest  examples  of  Toyokuni — a  character¬ 
istic  pyramidal  composition. 


No.  148.  14  x  9^2 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


81 


* 


ISHIKAWA  TOYOMASA:  Worked  about  1765. 

Pupil  of  Toyonobu 

149  MAZUKI,  THE  MOUSE  MONTH. 

Series :  “Twelve  Signs  of  the  Zodiac.”  Five  boys  are  busily  pack¬ 
ing  the  harvest  of  rice  and  treasures  of  coins  and  precious  stones 
with  the  help  of  a  crowd  of  mice.  Among  the  Signs  of  the 
Zodiac  the  mouse  is  the  symbol  of  the  collection  and  amassing 
of  wealth.  In  tones  of  pale  orange  and  yellow. 

Signature:  Ishikawa  Toyomasa.  Date  about  1766. 

^Examples  of  five-color  printing  of  this  artist  are  very  rare. 


No.  149.  10 %  x  7J4 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


82 


JAPANESE  COLOR  PRINTS 


No.  150.  12J4  x  6 


150 


Co 


ISHIKAWA  TOYONOBU:  1711-1785. 

One  of  the  greatest  artists  of  the  Primitives 

BENI  YE.  WOMAN  WITH  A  TRAY. 

Two  color  print  in  beni  and  green,  with  portions  of  the  dress  so 
crisp  and  clear  as  to  look  like  embossed  work.  Some  holes  to 
left  filled. 

Signature:  Ishikawa  Toyonobu.  Publisher:  Maruuroko, 

owner  of  engraving.  Date  about  1750. 

*Secured  from  Mr.  John  La  Farge  before  he  made  his  public  sales, 
and  of  the  artistic  quality  for  which  the  La  Farge  collection  is  cele¬ 
brated  ;  for  instance,  the  “line  of  beauty’’  from  the  head  turned  and 
thrown  back  to  the  end  of  the  sweeping  robe  should  be  noted,  balanced 
by  the  tray  with  her  “Seven  Emblems  of  Treasure.”  A  Hosoye  of 

FLAWLESS  GRACE. 


The  Walpole  Galleries,  10  East  49tb  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


83 


151 


152 


KITAGAWA  UTAMARO:  1753-1806. 

As  a  youth  Utamaro  served  the  Tokugawa  Government  but  soon 
retired  and  studied  painting  of  Kano  Masters,  and  later  with  Tori- 
yama  Sekiyen.  He  lived  for  many  years  in  the  home  of  Tsutaya, 
then  a  very  popular  book  and  Nishikiye  publisher  of  Yedo.  He 
seems  to  have  been  influenced  more  by  the  work  of  Kiyonaga,  but 
his  characteristic  portraits  of  women  soon  gave  him  an  unrivalled 

place  in  Japanese  art 

“FUJIN  SOGAKU  JITTAL.”  SERIES:  “TEN  WAYS  OF 
PHYSIOGONOMY.” 

A  beautiful  woman  seen  at  half  length  praying  before  a  shrine 
for  the  desired  fulfilment  of  matrimony.  A  striking  and  har¬ 
monious  composition  in  ochre,  yellow  and  black ;  the  obi  of  dark, 
olive  green.  Utamaro  assume  the  role  of  a  physiognomist  and 
signs  the  print  as  follows :  “This  countenance  signifies  one  who 
is  strong  in  self-restraint,  as  well  as  temperament,  and  as  a  friend 
she  may  render  service  as  all  womanly  virtue  deserves.” 
Without  signature.  Publisher:  Tsuruya. 

*An  unrivaled  composition.  Professor  Fenollosa  calls  this  “the 
balloon-shaped  head.” 

A  COURTESAN  DETAINING  HER  LOVER. 

Daring  composition  of  artistic  excellence,  in  perfect  harmony  of 
coloring,  it  is  one  of  the  great  prints  of  the  collection. 

Without  signature. 

*A  very  rare  print  and  of  exceptional  artistic  merit. 


No.  151.  15  x  10J4 


No.  152.  14J4  x  10 


84 


JAPANESE  COLOR  PRINTS 


UTAMARO — Continued. 


153 


FUJIN  TEWAZA  JUNIKO. 

Series  :  “Twelve  Manual  Accomplishments  of  Women.”  An  elder 
Sister  leaning  over  the  shoulder  and  guiding  the  hand  of  the 
younger,  in  a  lesson  in  calligraphy.  Beautiful,  soft  coloring  in 
dark  ochre,  brown  and  pink. 

Signature:  Utamaro  Hitsu.  Publisher:  Hishiwaka. 


/ 

2L$ 


154  TWO  GIRLS  IN  CONVERSATION. 

They  are  seen  at  half  length.  A  charming  and  clearly  printed 
composition  in  pink  and  black.  The  treatment  of  the  coiffure, 
showing  the  whalebone  hair  bow  of  the  upper  figure,  places  it  as 
the  early  work  of  Utamaro. 

Signature:  Utamaro  ga. 

*An  interesting  association  print.  It  was  purchased  by  Shojio 
Kiosai,  a  famous  painter,  in  1866,  as  shown  by  his  characteristic  and 
inimitable  calligraphy  to  the  left,  and  later  passed  into  the  hands  of 
Sanko,  a  noted  metal  manufacturer  of  Tokyo  as  also  noted  on  the  print. 


No.  153.  uy2x9y 


No.  154.  13  34  x  9 


A  4* 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  IF.  HUNTER  COLLECTION 


85 


UTAMARO — Continued. 


No.  155.  13  x  9J4 


No.  156.  uy2x9y2 


155  GIRL  SEEN  AT  BUST  LENGTH  WITH  CUP  OF  TEA. 

“Azuma  Bijin  Erami,”  Series:  “Selected  Beauties  of  the  East.” 
The  large  head  of  a  girl,  her  hair  wrapped  in  a  tenuguri,  which 
bears  an  ivy  crest  in  blue  and  the  letters  “Fuku”  and  “ju” —  Hap¬ 
piness  and  Longevity. 

Signature:  Utamaro  ga. 

*Perfect  condition.  Utamaro’s  title  “Ada-ge,”  a  coquettish  coiffure. 


156  KIRARAYE  OR  MICA  PRINT  WITH  LARGE  HEAD. 

Bust  of  a  Musume,  Series:  “Competition  of  Yedo  Musume." 

Ochiye  of  Koiseya,  utterly  absorbed  in  reading  a  yellow  covered 

book  published  by  Santo  Kioden  (Kitao  Masanobu).  The 

earliest  work  of  Utamaro,  shown  by  the  knot  of  hair  being  much 

smaller  and  the  primitive  rendition  of  the  short  hair  at  the  neck, 

also  in  the  square  signature  and  seal. 

Signature:  Utamaro  ga.  Publisher:  Kawaju.  Date  about 

1786.  Slight  reparation  in  upper  edge. 

*In  fine  condition  and  registration,  and  with  a  pretty  tribute  to 
his  predecessor,  Kioden,  in  showing  the  Musume  reading  his  book. 


86 


JAPANESE  COLOR  PRINTS 


UTAMARO — -Continued. 


J 


157  TAKIGAWA  OF  TEAHOUSE  OGIYA,  AFTER  HER  BATH. 
“Seiro  Nana-Komatchi,”  Series:  “Seven  Living  Komachis  of  the 
Teahouse.”  Warm  from  her  bath,  she  wipes  a  few  drops  of 
moisture  from  her  ear  with  the  loose  sleeve  of  her  shibori  or  bath¬ 
robe  of  misty  blue  pattern,  while  the  rendering  of  the  half-dried 
hair  is  astonishingly  realistic.  Traces  of  pink  shadow  the  eyes 
and  the  entire  background  is  tinted  in  grey. 

Signature:  Shomei  Utamaro  Hitsu.  Publisher:  Izumisa. 

*A  SUPERB  collector’s  PRINT  FROM  THE  WAKAI  AND  HAYASHI  COL¬ 
LECTIONS  with  their  seals;  the  upper  oval  seal  being  that  of  the  famous 
connoisseur  of  Tokyo,  Kanesaburo  Wakai,  the  one  below  that  of  Tade- 
masa  Hayashi  of  Paris.  A  print  having  the  seal  of  approval  of  these 
two  famous  experts  is  worthy  of  attention. 


THREE  IMPORTANT  UTAMARO  PRINTS 

THE  FLESH-LINES  IN  PINK 

GIRL  SEEN  AT  BUST  LENGTH:  FLESH  LINES  IN  PINK. 

Series  of  “Six  Tamagawa  Rivers.”  A  girl  just  from  the  bath 

wearing  an  aubergine  shibori.  The  entire  background  in  gauf- 

frage  in  a  design  of  Yamabuki  flowers  on  a  stream. 

Signature:  Utamaro  Hitsu.  Publisher:  Yamamatsu. 

*A  faultless  proof  impression,  showing  the  original  aubergine 
border  line,  and  with  flesh  lines  in  pink. 


y  m  W  m  T?  A, 

No.  158.  15x9  Vi  No.  157.  14rAx9}4 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  IV.  HUNTER  COLLECTION 


87 


UTAMARO — Continued. 


No.  159.  14x924 


No.  160.  14 54  x  924 


159 


LARGE  HEAD  WITH  FLESH  LINES  IN  PINK. 

Series:  “Six  Tamagawa  Rivers.”  The  masses  of  her  black  hair, 
wet  from  its  recent  washing,  lying  on  her  shoulders.  Such  ren¬ 
dering  of  the  hair  cannot  be  found  in  the  pictorial  art  of  Japan 
since  the  work  of  the  Tosa  Masters  in  the  Twelfth  Century.  The 
flesh  lines  of  the  face  and  hands  are  modelled  in  pink,  and  there 
are  traces  of  pink  tint  over  the  eyes ;  the  robes  of  old  rose  with 
cherry  blossoms  in  gauffrage,  and  the  entire  background  in 
gauffrage  printing  of  “cloth  bleaching  sticks”  floating  on  a 
stream. 

Signature:  Utamaro  Hitsa.  Publisher:  Yamamatsu. 

*Flawless  proof  impression  in  collector’s  condition. 


160  A  GIRL  AT  BUST  LENGTH,  FLESH  LINES  IN  PINK. 


An  early  Utamaro  print  of  great  rarity  with  the  flesh  lines  of 
face,  ear  and  throat  rendered  in  pink,  with  the  delicate  pink 
shadows  of  the  eyes  exquisitely  preserved.  The  entire  back¬ 
ground  is  printed  in  gauffrage  with  Hagi  blossoms  on  a  stream. 
Series:  “Six  Tamagawa  Rivers.” 

Signature:  Utamaro  Hitsu. 

*Flawless  proof  impression  in  perfect  condition. 


88 


JAPANESE  COLOR  PRINTS 


4/ 


161  HANAZUMA  SEATED. 

Toji  Zensei  Nigawo  Zoroe,  Series  of  “Competition  of  Present 
Day  Beauty.”  A  print  of  lovely  long  lines.  Hanazuma  wears  a 
black  gauze  through  which  her  underdress  shows  faintly  pink, 
bordered  and  lined  with  rose  pink ;  the  obi  of  rich  old  reddish 
brown  brocade,  all  on  a  reserve  ground  of  palest  yellow. 

Signature:  Utamaro  Hitsu.  Publisher:  Hishiwaka. 

*A  FINE  IMPRESSION  IN  COLLECTOR'S  CONDITION. 


162  A  GIRL  AT  BUST  LENGTH,  COMING  FROM  THE  BATH. 

The  use  of  masses  of  rich  black  in  hair  and  robe,  the  elongation 
of  the  head  and  neck  are  characteristic  of  his  manner  in  the 
Kwansei  period  of  1795.  The  color  of  her  ‘jiban’  or  underrobe 
is  of  aubergine,  but  the  print  is  dominated  by  the  use  of  the 
massed  black,  and  every  line  is  clear  and  crisp. 

Signature:  Utamaro  Hitsu:  Publisher:  Tsuruya. 

*A  rare  print  in  fine  condition,  of  exceptional  artistic  merit. 


No.  161.  15  x  9p2 


No.  162.  15  x  9'/2 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


89 


UTAMARO — Continued. 


163.  IS  X  10  164.  15  X  10 l/s 

163  TWO  GIRLS  UNDER  PENDANT  WISTARIA  BLOSSOMS. 

A  symphony  of  yellow,  pale  pink  and  opaque  grey,  as  they  stand 

together,  seen  at  half  length. 

Signature:  Utamaro  Hitsu.  Publisher:  Hishiwaka t 

*A  superb  impression,  the  rendering  of  the  hair,  now  a  lost  art,  in 
exquisite  registration,  and  harmony  of  color. 

164  THREE  WOMEN  WAITING  ON  THE  BRIDGE. 

The  figure  to  the  right  in  a  fresh  and  beautiful  violet  robe  tied 

with  pink,  holding  a  blue  umbrella  with  her  companion  whose 

robes  of  pink  with  black  gauze  overdress  are  tied  with  a  black  and 

aubergine  obi.  The  third  of  these  “Three  Graces”  wears  a  robe 

of  apricot  tied  with  pink,  holding  an  open  umbrella  of  the  same 

steel  blue  at  her  side.  Slight  reparation  at  right  edge. 

Signature:  Utamaro  Hitsu.  Publisher  Omiya. 

*A  sheet  of  a  famous  Triptych  whose  simplicity  of  line  and  color 
harmonies  make  it  recognized  at  once  as  a  distinguished  print.  A  very 
fine  impression,  fresh  and  brilliant. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


90 


JAPANESE  COLOR  PRINTS 


UTAMARO— Continued. 


No.  165.  15x10  1/6  No.  166.  15x10^ 

KARAKOTO  OF  CHOJIYA  AFTER  THE  BATH. 

A  semi-nude  girl  in  a  loose  robe  of  delicate  blue,  with  the 
sleeve  of  which  she  wipes  the  moisture  from  her  ear.  The  color 
of  her  robe  is  well  preserved,  together  with  the  red  of  her  lips  and 
the  translucent  yellow  of  the  tortoiseshell  kogai  in  her  smooth 
black  hair.  Slight  reparations. 

Signature:  Utamaro  Hitsu.  Publisher:  Yamafuji  Yamashiro. 

*A  rare  example  of  large  head  and  semi-nude. 

A  LADY  ON  A  FLOWER  OUTING. 

“Yashiki  Fu.”  Series:  Tosei  Fuzoku  Tsu,  or  “Knowledge  of 
Present  Day  Customs.”  A  lady  of  a  Samurai  family  holding  a 
fan  on  which  is  inscribed  a  poem  suggesting  that  she  is  on 
“O’Hanami”  or  “Honourable  Flower  Outing.”  Slight  stain  at 
lower  right  hand  corner. 

Signature:  Utamaro  Hitsu. 

^Wonderful  printing,  retaining  the  original  delicate  pink  tone  of  the 
pretty  sun-hat  and  the  pink  shadows  under  the  brow. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  IV.  HUNTER  COLLECTION 


91 


UTAMARO — Continued. 


167  KIRARAYE  OR  MICA  PRINT.  WAKAMUME  WITH 
ATTENDANT. 

A  print  of  soft  brilliance.  The  beauty  is  seen  at  half  length,  her  ^ 
pink  robe  slipping  from  the  green  underdress,  tied  with  an 
obi  of  black  and  apricot  brocade.  Reparation  in  upper  right,  in 
the  background  of  mica  printing. 

Signature:  Utamaro  Hitsa.  Publisher:  Tsutaya. 

*  A  remarkable  rendering  of  the  complementary  green  and  pink  tone. 

168  THREE  PILGRIMS  ON  THEIR  WAY  TO  THE  TEMPLE. 

Shimotsuki  No  Kamimode,  Series :  “Furiushiki  no  Asobi,”  or 
“Elegant  Outings  of  the  Four  Seasons.”  A  favorite  pyramidal 
composition  of  Utamaro.  A  youth  who  carries  a  girl  in  pink  on 
his  right  shoulder,  engages  in  conversation  the  lady  who  accom¬ 
panies  them.  Pink  predominates,  offset  by  black  and  green. 
Signature:  Utamaro  Hitsu.  Publisher:  Tsuruya. 

*A  rare  example  retaining  the  color  tints  on  the  man’s  face. 


No.  168.  15  x  10 


No.  167.  14&xl0 


The  Walpole  Galleries.  10  East  49th  Street,  New  York 


92 


JAPANESE  COLOR  PRINTS 


UTAMARO — Continued. 


No.  169.  15^x1054  No.  170.  15  1/3x10  1/3 

169  YOUNG  WOMAN  CHANGING  HER  ROBE. 

“Natsu  Isho  Tosei  Bijin,”  series:  “Summer  Wear  for  Present 
Day  Beauty.”  The  semi-nude  figure  of  a  young  woman  chang¬ 
ing  her  summer  robe  for  a  newly  acquired  ‘Jofu’  linen  gown. 
A  print  of  warm  grey  and  soft  yellow  touched  with  rose  color. 
Slight  reparation  at  top  and  lower  left  corner. 

Signature  :  U tamaro  Hitsu. 

*Rare  example  of  the  nude  and  showing  the  quaint  idea  of  anatomy 
possessed  by  the  Japanese. 

170  TWO  DROWSY  MUSUMES. 

'“Musume  Hidokei,”  Series:  “Dial  for  Young  Girls  at  the 
Dragon’s  Hour”  (nine  in  the  morning).  Two  Musumes  robed 
in  blue  Nemaki,  just  out  of  bed  and  trying  to  dispel  their  drowsi¬ 
ness  by  admiring  a  pot  of  Morning  Glories.  They  have  not  yet 
washed  their  faces,  as  one  Musume  still  keeps  her  toothbrush 
in  her  mouth. 

Signature:  Utamaro  Hitsu.  Engraver:  Marumura. 

*A  rare  example  showing  the  faces  impressed  in  gauffrage. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


93 


UTAMARO— Continued. 


171  MUSUME  PLAYING  THE  SAMISEN. 

Series:  “Edo  no  hana  Musume  Jioruri,”  or  “The  Flowers  of 
Yedo,  the  Musume  Musicians.”  She  wears  a  dark  blue  gauze 
patterned  in  white,  with  light  brown  brocade  obi.  The  ribbons  of 
her  hair,  and  the  Camelia  flowers  in  deep  rose.  Slight  reparation 
on  the  forehead. 

Signature:  Utamaro  Hitsu.  Publisher:  Kaneto. 

*Here  Utamaro  used  at  least  ten  blocks.  A  rare  example  in  this 
coloring. 


REKISENTEI  YEIRI :  1760-1810. 

Pupil  of  Yeishi  and  follower  of  Utamaro  of  whom  Strange  says, 

“His  prints  are  rarely  met  with  in  Europe” 

172  SANKATSU  AND  HANHICHI  SEEN  AT  BUST  LENGTH. 

The  Mother  holding  the  baby,  with  her  robes  treated  in  three 

different  shades  of  yellow,  in  contrast  to  the  deep  red-brown 

leather  coat  of  the  man.  Signature:  Rekisentei  Yeiri. 

*One  of  the  rarest  prints  in  Mr.  Hunter’s  collection  in  fine  condition 
and  printing  with  use  of  gauffrage. 


No.  171.  15  x  10J4 


No.  172.  Uy2  x  10 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


94 


JAPANESE  COLOR  PRINTS 


HOSODA  CHOBUNSAI  YEISHI :  1760-1829. 

The  grandson  of  Hosoda  Tamba,  Financial  Commissioner  of  Toku- 
gawa;  the  name  “Yeishi”  was  given  by  the  Shogun  Iyeharu  during 
his  short  service  as  assistant  to  the  Commissioner  and  Court 
Painter.  Of  all  Ukiyoye,  the  work  of  Yeishi  excites  the  greatest 
admiration  among  the  Japanese  Art  Collectors.  His  knowledge  of 
Court  Life  at  Yedo  gave  him  his  inspiration  for  the  production  of 
the  sumptuous  series  “Lavish  and  Extravagant  Genji” 

173  IZUTSU  OR  THE  PALACE  WELL. 

A  young  Nobleman  with  three  female  attendants,  stopping  at 
the  well  under  a  blooming  plum  tree.  The  white  robe  of  nobility 
is  gauffered  with  an  ayagata  pattern.  Behind  him  stands  a 
lovely  creature  in  aubergine  attended  by  a  child  in  grey  and 
black,  while  in  the  foreground,  a  more  lovely  stooping  figure  in 
green  holds  his  sword.  Oxidised  clouds  in  the  crisp  ochre- 
orange  background. 

Signature:  Yeishi.  Publisher:  Eiju.  Seal:  Approval. 

*A  distinguished  print  characteristic  of  the  “feeling  of  repose”  so 
perfectly  expressed  by  this  aristocrat  among  Color  Print  artists. 


No.  173.  15  J4  x  10 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


95 


YEISHI — Continued. 


No.  174.  15  J4  X  10 

174  HANAOGI  OF  TEAHOUSE  OGIYA,  WITH  TWO  KAMUROS. 

The  rare  beauty  of  this  print  lies  in  the  stately  carriage,  the 
sweep  of  the  long  robe  of  light  aubergine  over  pink,  and  palest 
green  held  up  under  a  rose-colored  obi,  and  the  unusual  auber¬ 
gine  ribbon  garniture  which  falls  from  her  coiffure  over  her 
shoulder. 

Without  signature. 

^Connoisseurs  will  appreciate  this  magnificent  impression  of  a  highly 
artistic  composition,  with  the  introduction  of  fretted  clouds  and  pink 
tones  on  the  pearl  grey  ground. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


96 


JAPANESE  COLOR  PRINTS 


YEISHI — Continued. 


175.  15^x10 


No.  176.  15  x  9l/i 


175  FOUR  BEAUTIFUL  COURTESANS  WALKING. 

Senzan  on  the  right,  of  exquisite  grace  in  green  and  pink,  with 
her  companions  Misayama  in  pale  yellow  over  lavender,  lined 
with  pink  and  Itotaki  in  violet  over  pink ;  Orihae  follows  in 
delicate  lavender  over  green  and  pink,  and  the  stately  onward 
sweep  of  their  movement  can  only  be  compared  with  some  noble 
ship  slowly  approaching  harbor. 

Signature  :  Yeishi.  Publisher  :  Eiju.  Seal:  Approval. 

*Proof  in  flawless  collector’s  condition,  every  color  of  the  artist 
and  gauffrage  preserved,  including  the  light  apricot  tint  of  the  back¬ 
ground.  Considered  the  most  distinguished  and  beautiful  group  in  the 
whole  range  of  Yeishi’s  Art. 

176  THREE  COURT  LADIES  ADMIRING  A  PAINTING. 

The  little  girl  in  blue  kneeling  on  the  floor  beside  them  follows 
0  their  example.  A  beautiful  print  of  clear  crisp  lines  showing  the 

famous  “Yeishi  green”  in  two  shades  with  subtle  use  of  rich  black 
and  violet.  The  Tatami  and  Verandah  are  in  an  exquisite  tone  of 
clear  yellow. 

Signature  :  Yeishi  ga.  Publisher :  Eiju.  Seal:  Approval. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  IV.  HUNTER  COLLECTION 


97 


1 77  THE  COURTESAN  TAKIGAWA  WITH  TWO  KAMUROS. 

Series  :  “Seiro  Moyo  Awase,”  or  “Matchless  Teahouse  Patterns.” 

Famous  for  the  sweep  of  line  and  color  harmony  of  a  Uchikake 

of  deep  bamboo-green  over  ochre-orange  and  light  aubergine, 

the  colors  repeated  in  the  dresses  of  the  Kamuros. 

Signature:  Yeishi  zu.  Publisher:  Eiju.  Seal:  Approval. 

^Magnificent  condition  on  a  yellow  ground  toning  into  grey,  a 
charming  touch  given  by  open  fans  gauffered  into  the  background. 

178  HANAZUMA  OF  HYOGOYA. 

Series:  “Seiro  Moyo  Awase,”  or  “Matchless  Teahouse  Patterns.” 
A  beautiful  Courtesan  walking,  accompanied  by  two  Kamuros, 
in  a  pink  asanoha  dress  enhanced  with  delicate  pattern  in  gauf- 
frage,  black  uchikake  and  obi  of  pale  green  brocade  in  contrast 
with  the  opaque  blue  of  the  dresses  of  the  Kamuros,  one  of  whom 
walks  in  front,  the  other  to  the  back. 

Signature:  Yeishi  ga.  Publisher:  Eiju.  Seal:  Approval. 

*A  MASTERPIECE  OF  THE  ARTIST  IN  PERFECT  PROOF  CONDITION.  The 
drapery  lines  and  color  composition,  the  restrained  and  beautiful  use 
of  the  contrasting  black  on  the  grey  wash  ground  combine  to  make 
this  a  notable  print  of  flawless  execution. 


1/7.  15  x  1UJ4  No.  178.  IS’x  10 %. 


The  Walpole  Galleries,  10  East  49th  Street,  New  York 


98 


JAPANESE  COLOR  PRINTS 


YEISHI— Continued. 


No.  179.  IS  x  10 Yt, 


No.  180.  15  x  10^4 


179  SOMENOSUKE  OF  MATSUBAYA  TEAHOUSE,  WITH 
SHINZO  AND  TWO  KAMUROS. 

She  is  in  Holiday  Dress  of  white  gauffered  in  a  diamond  pattern, 
over  which  is  a  rose  pink  Uchikake,  with  branches  of  the  flower¬ 
ing  plum  in  gauffrage.  The  two  little  Kamuros  are  dressed  to 
match,  while  the  tall  Shinzo,  as  beautiful  as  her  Mistress,  wears 
white  to  correspond,  with  touches  of  pink  and  bordered  with 
green,  her  obi  of  green  brocade  of  luminous  beauty. 

Signature:  Yeishi  zu.  Publisher:  Eiju.  Seal:  Approval. 

*From  the  collection  of  Wakai  Oyaji,  the  famous  early  collector 
of  Tokyo,  and  with  his  seal.  A  print  noted  for  its  refinement  of 
delicacy. 

180  YUKUN  ROKKA  SEN. 

Series :  “Six  Beauties  in  a  Parody  on  the  Six  Great  Poets.” 
The  two  Beauties,  Hinazuru  of  Teahouse  Chojiya  and  Shinowara 
of  Tsuruja,  the  latter  holding  a  long  pipe.  A  lovely  and  delicate 
color  harmony  in  a  softly  brilliant  rose,  pale  aubergine,  pink 
and  yellow.  Slight  reparation. 

Signature:  Yeishi  zu.  Publisher:  Maru  Iwa. 


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F.  IV.  HUNTER  COLLECTION 


99 


No.  181.  uy2  x  9y2 


CHOKOSAI  YEISHO :  Flourished  1790-1805. 

Pupil  of  Yeishi 

181  HANAOGI  OF  TEAHOUSE  OGIYA. 

Series  “Yukunwaka  Sanjin,”  or  “Three  Beautiful  and  Poetical 
Goddesses.”  She  wears  a  robe  of  soft  black  unrelieved  save  for 
the  pink  crepe  sash  which  has  a  small  design  printed  in  gauffrage 
and  the  border  of  her  underrobes  which  are  flowered  in  detached 
cherry  blossoms.  The  ecru  carpet  on  which  she  sits  is  patterned 
in  pale  yellow  Chrysanthemums  and  on  the  lacquer  rack  to  the  left 
is  thrown  an  exquisite  uchikake  of  warm  grey  lined  with  yellow. 
All  on  a  “wash”  background  of  delicate  pearl  grey. 

Signature:  Yeisho  ga.  Publisher:  Yamaguchi.  Date  about 
1798. 

*A  very  beautiful  print  in  fine  condition.  A  masterpiece  of  design 
and  conception. 


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100 


JAPANESE  COLOR  PRINTS 


YEISHO — Continued. 

182  LARGE  HEAD  OF  WAKA-MURASAKI  OF  TEAHOUSE 

KADOTAMAYA. 

Series:  Kuruwa-Bijin-Zoroe,  or  “Competition  of  Kuruwa  Beau¬ 
ties.”  The  Geisha  is  putting  a  goldfish  into  a  glass  jar.  The 
color  mellowed  by  time  into  a  soft  brown,  though  the  simple  but 
impressive  brush  strokes  and  the  superb  black  of  the  coiffure 
make  this  a  distinguished  print. 

Signature:  Chokosai  Y eisho  ga.  Publisher:  Yamato. 

ICHIRAKUTEI  YEISUI :  Flourished  about  1795-1800 

Pupil  of  Yeishi 

183  SHIZUKA  OF  TEAHOUSE  TAMAYA :  LARGE  HEAD. 

A  magnificent  head,  with  robes  of  soft  pastel  green,  rose  and 
aubergine.  She  holds  a  “Kibioshi”  or  novel  by  Jippensha  Ikku 
in  a  mustard  yellow  cover. 

Signature:  Ichirakutei  Yeisui  ga.  Publisher:  Manibun.  Date 
about  1799. 

*A  SUPERB  IMPRESSION  OF  A  VERY  RARE  EXAMPLE,  and  a  print  of 
aristocratic  distinction.  Mr.  Matsuki  characterizes  it  as  the  best  Yesui 
he  has  ever  seen. 


No.  183.  14^x10  No.  182.  14^  x9/2 


Tiie  Walpole  Galleries,  10  East  49th  Street,  New  York 


F.  W.  HUNTER  COLLECTION 


101 


SIXTEEN  PRINTS  IN  BLUE. 

Made  to  rival  the  famous  Blue-and-White  Porcelains  of  the 

K’ang-hsi  era 

Of  rare  production,  framed  in  a  tone  to  match  the  prints  and,  with 
one  exception,  all  are  15^2x11  inches 


KEISAI  YEISEN :  1789-1848. 

Pupil  of  Kikugawa  Yeizan 

184  YEDO  BEAUTIES  AT  A  MUSICAL  CONCERT.  Triptych. 
They  stand  on  a  verandah  overlooking  the  Sumida  River.  Four 
tints  of  blue  are  used  in  this  triptych.  Very  rare  series  and  well 
preserved. 

Signature:  Keisei  Yeisen  ga.  Date  about  1830. 

*These  are  prints  which  usually  occur  in  five  or  six  colors,  but  a  few 
examples  were  made  at  the  time  in  order  to  rival  the  famous  K’ang- 
hsi  porcelains,  and  they  are  very  rare  in  the  one-block  blue  print. 
They  were  used  by  Mr.  Hunter  as  a  background  for  his  Blue-  and- 
White  Chinese  Collection. 


185  GIRL  ATTIRED  IN  HOLIDAY  COSTUME. 

Resting  on  the  Verandah.  Sumida  River  Series, 
Zukushi.”  Three  tints  of  blue  are  used. 

Signature:  Keisai  Yeisen  ga.  Dated  about  1830. 


W 

Yedo  Meisho  P 

vt> 


186  HANAMADO  WITH  SHINZO. 

Series  “Yoshiwara  Bijin”  or  the  Beauties  of  the  Yoshiwara. 
four  different  tones  of  blue. 

Signature:  Keisai  Yeisen  ga.  Publisher:  Tsutoya. 


KIKUGAWA  YEIZAN:  1800-1829. 

Pupil  of  Shigenaga 

187  HANAMADO  OUTING. 

With  Two  Kamuros :  Series,  “Shin  Yoshiwara-Dochiu  Zu.” 
Signature:  Kikugawa  Yeizan  Hitsu.  Publisher:  Marujin. 
Datb  about  1815. 


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102 


JAPANESE  COLOR  PRINTS 


SIXTEEN  BLUE  PRINTS— Continued. 


ICHIYUSAI  KUNIYOSHI :  1797-1861 


Pupil  of  Toyokuni 

COMPETITION  O'F  BEAUTIES. 

Series  “Bijin  Zoroye.” 

Signature  :  Ichiyusai  Kuniyoshi  ga.  Publisher  :  Kawcicho. 

GIRL  STANDING  ON  THE  BANK  OF  A  RIVER. 

Series :  “To-Sei  Fuzoku  Konorni,”  “Fascinating  Costumes  of 
the  Present  Day.”  In  delicate  pink  and  three  tones  of  blue. 
Signature :  Ichiyusai  Kuniyoshi  ga. 


190  GIRL  STANDING  ON  THE  BANK  OF  A  RIVER. 

Series :  “To-Sei  Fuzoku  Konorni,”  “Fascinating  Costumes  of 
the  Present  Day.”  In  delicate  pink  and  three  tones  of  blue. 
Signature :  Ichiyusai  Kuniyoshi  ga. 

*Companion  to  the  preceding. 


191  TWO  COLOR  PRINT,  RED  AND  BLUE. 


Geisha  Girl  promenading  on  the  Sumida  River  Bank. 
Signature:  Ichiyusai  Kuniyoshi.  Publisher:  Kazuacho. 

TWO  COLOR  PRINT  IN  RED  AND  BLUE. 


Geisha  Girl  promenading  on  the  Bank  of  the  Sumida  River. 
Signature:  Ichiyusai  Kuniyoshi.  Publisher:  Kawacho. 
^Companion  print  to  the  preceding. 


193  FISHERMAN’S  WIFE  WITH  THREE  CHILDREN. 

Viewing  with  excitement  a  whale  fishing.  Series :  “Sankai 
Meisan  Zukushi,”  or  Products  of  Land  and  Sea.  Printed  in 
blues  and  pink  tint. 

Signature :  Ichiyusai  Kuniyoshi  ga.  Publisher :  Shin-Iseya. 


PORTRAIT  OF  A  BEAUTY. 

“One  of  Seven  of  Yebiya  Teahouse.” 

Signature :  Ichiyusai  Kuniyoshi  at  the  request. 


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F.  W.  HUNTER  COLLECTION 


103 


SIXTEEN  BLUE  PRINTS— Continued. 


TOYOKUNI:  1769-1825. 

195  MUSUME  WITH  HAGOITA  NEAR  GNARLED  PLUM  TREE. 

Series:  “Tosei-Bijin  Hana-Awase,”  or  Flowery  Match  of 
Present  Day  Beauties.  Printed  in  two  tones  of  blue. 
Signature:  Toyokuni  ga.  Date  about  1810. 

196  MUSUME  WITH  PIPE. 

Standing  near  Hydrangea.  Series :  “Flowery  Match  of  Present 
Day  Beauties.”  Printed  in  three  tones  of  blue. 

Signature:  Toyokuni  ga.  Publisher:  Shimizu.  Date  about 
1810. 

GOTOTEI  KUNISADA:  1785-1864. 

Pupil  of  Toyokuni 

197  GIRL  UNDER  CHERRY  TREE  IN  BLOSSOM. 

Series :  “Mei  Hitsu  Ukiyoye  Kagami,”  or  Competition  of  Beauty 
with  Master  Works  of  Ukiyoye.  In  the  background  is  a  kake¬ 
mono  by  Iwasa  Matahei.  Printed  in  three  tones  of  blue. 
Signature:  Gototei  Kunisada  ga. 

TAIGAKU :  About  1800. 

Pupil  of  Hokusai 

198  CHINESE  LANDSCAPE.  Size  7y  x  I0y2  inches. 

Printed  in  four  tones  of  blue. 

Signature:  Taigaku  ga.  Date  about  1820. 

UTAGAWA  SADATORA:  Worked  in  the  19th  Century 

Pupil  of  Kunisada 

199  TRIPTYCH:  “Sumida-Gawa-no-Yugure,”  or,  Twilight  on  the 

Sumida  River.  Three  figures  of  women  watching  flying  wild 
geese.  Landscape  with  Fuji  adorning  the  horizon  with  beautiful 
row  of  teahouses.  Printed  in  pink  and  four  tints  of  blue. 
Signature:  Gofutei  Sadatora.  Date  about  1815. 


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F.  W.  HUNTER  COLLECTION 


105 


SAITO  TOSHUSAI  SHARAKU:  1760-1799. 

The  unique  genius  of  all  Japanese  Ukiyoye,  whose  realistic  and 
natural  portrayal  of  Japan’s  great  dramatic  actors  astounded  the 
modern  European  world,  was  kept  in  oblivion  for  over  a  century. 

The  Japanese  themselves  did  not  appreciate  Sharaku,  and  no 
authentic  account  of  him  will  probably  ever  be  possible.  He  was 
born  apparently  in  the  last  of  Horeki  (1760)  in  Yedo  and  lived 
only  to  about  age  40. 

As  a  youth  he  was  a  Noh  Actor  of  uncommon  talent,  which  led 
to  his  being  taken  from  Yedo  to  Tokushima,  the  home  castle  of 
Lord  Hachisuka.  The  profession  of  Noh  Actor  included  the  ac¬ 
complishments  of  dancing  and  singing,  as  the  Noh  is  a  short  Lyric 
Drama,  accompanied  by  a  Chorus  with  primitive  orchestra.  The 
classical  movements  of  the  Noh  Dance  possess  the  greatest  dignity, 
enhanced  by  superb  costumes  of  costly  brocades.  The  performance 
is  patronized  by  the  Shogun  and  all  the  Daimyos  of  Japan.  The 
stage  is  built  of  fragrant  white  mahogany,  beneath  which  a  number 
of  huge  empty  earthen  jars  are  buried  to  supply  the  resonant  vibra¬ 
tion  for  the  characteristic  foot-stamping  of  the  chief  actors.  Ordi¬ 
nary  actors  had  no  such  settings,  and  were  disregarded  for  centu¬ 
ries  by  the  name  of  “Kawara-Mono”  or  “Herds  of  the  River  Bed” 
from  the  pebbled  soil  of  the  river  bank  on  which  their  theatrical 
tents  were  pitched. 

In  primitive  Noh  Dancing  the  climax  was  expressed  by  singing 
and  music,  and  never  conveyed  by  the  facial  expression,  whether 
the  Masque  was  used  or  not.  But  Sharaku’s  knowledge  of  the 
classical  movement  of  the  Noh  Dance,  conformity  to  which  is  the 
fundamental  principle  of  all  the  dancing  of  today,  so  inspired  him 
that  he  was  able  to  portray  the  concentrating  expression  of  each 
actor  at  the  psychological  moment. 

Sharaku  came  back  to  Yedo  at  the  high  water  mark  of 
Dramatic  Art,  and  the  rendition  of  the  Chushingura  or  Revenge 
of  the  “47  Ronins”  was  in  its  zenith. 

His  inspirations  of  the  climactical  moment,  for  he  must  have 
been  thrilled  by  the  power  of  the  actor,  have  survived  only  by  the 
foresight  of  the  wealthy  publisher  Tsutaya  of  Yedo,  who  alone 
dared  to  put  out  these  large,  expensive  glimmering  kiraraye  from 
about  1793  to  1795.  About  fifty  are  known,  and  Mr.  Hunter 
has  been  able  to  secure  eleven,  seven  of  which  are  on  silver. 

200  KARARAYE  OR  MICA  (SILVER)  GROUND  PRINT. 

■  •  Actor  Arashi  Ritizo  as  Amakawaya  Gihei.  Wearing  a  coat  of 
ochre-orange  checked  with  olive  and  red  stripes ;  the  printing  of 
the  eyelids  in  dark  rose,  and  pink  tints  on  the  head  and  round 
the  eyes ;  the  upper-lip,  chin  and  base  of  ear  shadowed  in  grey ; 
the  black  of  hair  and  eye-brows  and  line  of  lip  repeated  in  the 
collar  of  his  robe. 

Signature :  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  Seal: 

Approval. 

*A  SUPERB  SPECIMEN  OF  A  “SILVER  GROUND”  SHARAKU  WITH  EVERY 

COLOR  VALUE  PRESERVED  AS  EXECUTED  BY  THE  ARTIST  IN  1794,  AND  ONE 

OF  THE  MOST  MAGNIFICENT  PRINTS  IN  EXISTENCE. 

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106 


JAPANESE  COLOR  PRINTS 


SHARAKU — Continued. 


No.  201.  13  X  9Ya 


201  THE  ACTOR  ICHIKAWA  DANJURO  AS  MATSUWO. 

.  Seen  at  half  length  in  an  apple  green  coat  lined  with  pink,  and 
Indian  red  upper  robe,  on  a  reserve  ground  of  ochre  yellow. 
Signature:  Sharaku  ga.  Publisher:  Tsutaya.  Seal:  Approval. 
Crest:  Carp  against  the  rapids ,  Naritaya  Sansho. 

*A  BRILLIANT,  FRESH  IMPRESSION  IN  FLAWLESS  CONDITION,  WITH  COLOR 
AND  PAPER  ENTIRELY  PERFECT,  OF  SHARAKU's  EARLY  PERIOD.  Among  the 
greatest  rarities  in  Ukiyoye. 


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F.  W.  HUNTER  COLLECTION 


107 


SHARAKU — Continued. 


No.  202.  13  x  9  lA 


202 


203 


ACTOR  IN  A  FEMALE  PART. 


Iwai  Hanshiro  as  Ochiyo,  the  wife  of  Matsuwo,  in  a  robe  of  red 
brown  and  ochre-orange  stripes  over  rose  color ;  the  reserve 
ground  in  ochre  yellow.  Note  the  exquisite  printing  of  her  hair 
through  the  translucent  ivory  combs. 

Signature:  Sharaku  ga.  Publisher:  Tsutaya.  Seal:  Approval. 

*In  perfect  condition  and  a  harmony  of  deep  opaque  colors, 
slightly  relieved  by  traces  of  silvery  mica  printing.  The  complement 
(as  wife  of  Matsuwo)  to  the  preceding  lot.  Also  see  note  to  No.  206. 

KIRARAYE  OR  MICA  GROUND  PRINT. 

The  Actor  Ichikawa  Monnosuke  as  Takabe  Genzo  in  a  robe  of 
light  pinkish  brown  over  apple  green  and  rose-color,  seen  at  half 
length  on  a  silver  ground.  The  streak  at  the  lower  left  side  is 
not  a  defect  as  it  exists  in  all  these  prints  known. 

Signature:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  Seal: 

Approval. 

*A  superb  example  in  collector’s  condition,  the  silver  ground  un¬ 
worn. 


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108 


JAPANESE  COLOR  PRINTS 


SHARAKU:  IMPORTANT  DISCOVERY. 

204  KIRARAYE  OR  MICA  GROUND  PRINT.  A  NOCTURNE. 

The  Actor  Sakata  Hang'oro  as  a  Ronin  in  The  Ronins’  Revenge. 
He  is  seen  at  half  length  wearing  a  dark  grey  robe,  shadowed  in 
mica,  a  brawny  hand  thrust  in  either  sleeve  with  its  lining  of 
dull  green ;  the  collar,  hair  and  brow  of  thick  black,  the  loose 
hairs  of  his  headdress  gauffered  into  the  silver  background, 
apparently  by  the  use  of  an  additional  block;  the  lips  and  eyes 
are  printed  partly  in  grey,  heightened  with  black. 

Signature:  Toshusai  Sharakn.  Publisher:  Tsutaya.  Seal: 

Approval. 

*A  SUPERB  EXAMPLE  IN  COLLECTOR’S  CONDITION,  WITH  THE  TITLE  AND 
DATE  ADDED  IN  THE  HAND  OF  ShARAKU,  MAKING  THE  PRINT  IN  ITS  FLAW¬ 
LESS  CONDITION  ONE  OF  THE  MOST  IMPORTANT  IN  THE  COLLECTION. 

An  important  point  which  should  be  noted  and  which  we  believe 
is  now  first  called  to  the  attention  of  collectors,  in  connection  with 
this  and  the  two  following  silver  ground  prints,  is  the  contemporary 
writing  that  appears  on  the  prints  (in  addition  to  the  printed  signa¬ 
ture),  not  only  in  the  Hunter  Collection,  but  in  other  American  and 
European  collections  of  mica  ground  prints.  This  writing  gives  the 
name  of  the  actor  and  the  month  and  year  of  Kwan-sei  (generally 
Ko-in,  ninth  month,  which  corresponds  to  September,  1794).  That  this 
writing  was  done  shortly  after  the  printing  is  proved  by  the  fact  that 
it  suffers  in  the  same  degree  by  the  wearing  of  time  and  rubbing. 
More  important  still,  a  close  study  of  the  calligraphy  shows  that  it 
MUST  HAVE  BEEN  DONE  BY  ShARAKU’S  OWN  HAND.  THESE  PRINTS 
THEREFORE  NOW  BECOME  OF  SUPERLATIVE  VALUE  AS  ASSOCIATION  ITEMS 
PRACTICALLY  UNKNOWN  IN  UlCIYOYE. 


No.  204.  14  x  1054 


No.  203.  15  x  10 


F.  IV.  HUNTER  COLLECTION 


109 


SHARAKU:  IMPORTANT  DISCOVERY— Continued. 


No.  205.  14J4  x  10  No.  206.  1454  x  10 

205  KIRARAYE  OR  MICA  GROUND  PRINT. 

Actor  Bando  Hikosaburo  as  Yuranosuke  holding  a  hexagonal 
paper  lantern  of  strong  black  lines,  seen  at  half  length  on  a  silver 
ground,  wearing  a  robe  of  red  brown  and  ecru.  The  streaks  seen 
at  the  stork  crest  above  the  shoulder  line  appear  in  all  of  these 
prints  in  existence. 

Signature:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  -Seal: 
Approval. 

*Very  rare  example,  with  title  and  date  added  in  the  hand  of 
Sharaku  (see  No.  204),  making  the  print  of  the  greatest  importance. 

206  KIRARAYE  OF  AN  ACTOR  IN  A  FEMALE  PART. 

Iwai  Hanshiro  as  Oishi,  the  wife  of  Yuranosuke,  holding  an 
amulet  bag  of  brocade  in  pink  and  yellow.  The  fan  patterns 
on  her  light  ecru  robe  are  also  in  pink,  with  the  collar  in  pearly 
mica,  all  on  a  reserve  silver  ground. 

Signature:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  Seal: 
Approval. 

*Very  rare  on  silver,  with  the  title  and  date  added  in  the  hand 
of  Sharaku,  making  the  print  one  of  superlative  importance.  (See 
also  note  to  No.  204.) 


SHARAKU — Continued. 


No.  207.  13H  x9j/g 


207  KIRARAYE  OF  AN  ACTOR  IN  A  FEMALE  PART. 

Kosegawa  Tsuneyo  as  Tonase,  the  wife  of  Honzo.  Seen  at 
half  length  wearing  an  apricot  colored  dress  and  hair  band;  the 
tortoiseshell  comb  in  translucent  yellow  through  which  is  shad¬ 
owed  the  dark  coil  of  her  hair  in  printing  of  remarkable  quality. 
Her  collar  is  of  pearly  mica,  all  on  a  silver  ground. 

Signature:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  Seal: 
Approval. 

*  Excessively  rare.  A  Japanese  “Mona  Lisa.” 

208  THE  ACTOR  MATSUMOTO  KOSHIRO  AS  OTOKODATE. 

A  red  brown  long  coat  over  a  checked  robe  of  opaque  grey  with 
pink  stripes ;  the  oversash,  pouch  and  pipe  stem  in  orange  red 
with  traces  of  pink  about  the  eyes,  all  on  a  yellow  ground  re¬ 
peated  in  the  lining  of  his  robe  are  merely  the  proper  adjuncts 
to  the  bold  simplicity  of  the  line  modelling  and  the  poise  and 
strength  of  the  figure. 

Signature:  Toshusai  Sharaku.  Publisher:  Tsutaya.  Seal: 
Approval. 

Hosoye  print,  in  perfect  condition,  of  Sharaku’s  earliest  period. 
Rarer  than  in  broad-sheets  when  in  collector’s  condition  as  above. 

209  HOSOYE  ON  A  YELLOW  GROUND. 

The  Actor,  Segawa  Tomisaburo  as  a  woman  defending  a  child. 
Her  robe  of  aubergine  over  pink  is  tied  with  a  black  sash ;  the 
child’s  robe  of  pink  heightened  with  gauffrage  printing. 

Signature:  Toshusai  Sharaku.  Publisher:  Tsutaya.  Seal: 
Approval. 

*Hosoye  print,  in  perfect  condition.  Excessively  rare. 


F.  W.  HUNTER  COLLECTION 


111 


No.  210.  15  x  10 

210  KIRARAYE  OR  MICA  GROUND  AND  LACQUER  PRINT. 

The  actor  Ichikawa  Danjuro  or  Ebizo  as  Kono  Moronao.  Black 
head  crest,  the  hair  in  strong  black  lacquer,  a  coat  of  superb 
ochre-orange  with  a  Chinese  blue  Kataginu  or  shoulder  cover 
with  a  touch  of  rosy  toning.  The  reserve  in  dark  grey  mica. 
Signature:  Toshusai  Sharaku  ga  at  the  upper  left  edge. 

*Among  the  rarest  and  most  desirable  of  these  Sharaku  prints 
from  the  Hayashi  collection,  with  his  seal  at  the  lower  right  corner. 
Probably  unique  in  its  present  coloring  of  ochre-orange  and  blue. 

The  scene  is  that  in  which  Lord  Yenya  receives  the  ambassadors 
from  the  Emperor  to  the  Shogun,  where  Moronao  so  persistently  in¬ 
sulted  him  that  he  was  provoked  to  draw  his  sword.  This  was  an 
offence  punishable  with  death,  leaving  his  Lordship’s  47  retainers 
“ronins”  who  swore  to  avenge  their  master,  thus  orginating  the  story 
of  the  “Chushingura,”  or  the  “47  Ronins’  revenge.” 

Sharaku  portrays,  with  masterly  art,  the  critical  moment  when  the 
sneering  glance  of  Moronao  has  aroused  his  Lordship  to  fury. 

The  Walpole  Galleries,  10  East  49th  Street,  New  York 


S.  I_.  PARSONS  a  CO.,  INC. 
45  ROSE  STREET 
NEW  YORK 


*» 

i 


